Archive for the ‘Photography Software’ Category

How To Get Great Online Prints

Friday, September 8th, 2017

The master digital image file and the final print.

Note: Readers have asked some great printing questions in various locations, so I’m compiling them along with my answers at the end of the article so they are all in one place.

I often get questions about how I prepare an image for printing with an online print lab for best results, so I’ve collaborated with Artmill.com to create this tutorial which we hope will help you get great prints.

Printing online can be as simple as uploading phone pics to a lab directly from your smart phone or as advanced as working one on one with a professional print master to go through a multi-step hard-proofing process to fine tune every aspect of the final piece. Most of us who are photography enthusiasts will take an approach somewhere in the middle. Just a few simple pointers can really elevate the quality of your prints.

In the video below, I take you through my process of preparing an image for printing online. In both Lightroom and Photoshop, I cover how to address color accuracy, contrast, sizing, sharpening and the most common print challenge…prints that come out too dark. In the video, I unbox the print so you can see how it turned out.

Artmill was kind to provide the promo code OUTDOOREXPOSURE for my viewers/readers. You can use it at http://www.artmill.com to get 15% off your first order.

For more tips on printing make sure to read Zack Schnepf’s article on the Photo Cascadia blog: www.photocascadia.com/blog/5-essential-tips-when-preparing-images-for-print

You can also view my tutorial on soft proofing in Photoshop: https://youtu.be/ND_GzCueX4s

Just to be clear, I don’t work for Artmill and I was not paid to do this video. We felt some information on this topic would be welcomed and they were kind enough to provide the printing. The print itself will be auctioned as part of a fundraiser for the public library here in my home town.

Your Q’s generated by the video and my A’s:

Q: I’ve been wanting to try an online print, but worried I would mess it up.

A: If you haven’t printed online before I suggest ordering a small test print on photo paper first and if you like what you get, then order a larger, more expensive print. Some labs even offer a free small sample print on your first order for proofing purposes.

Q: I have had such awful experiences with online prints! Always dark, grainy, out of focus.

A: It’s important to remember that the print can only be as good as the original image file. Issues that may not be noticeable at a small size on screen, such as noise or soft focus, will become very obvious in a large print. It’s important to zoom in to 100% magnification to inspect and evaluate images. If you see noise, focus or other issues that bother you at this magnification then they will be visible in a large print…and the larger the print the more visible they become.

Q: When you were in Photoshop did you increase the size of the image? I always thought this would make it blurry and lose sharpness and detail.

A: Yes, I did enlarge the image in the video…both in the Lightroom example and the Photoshop example. If you want to print a photo bigger than the size it comes out of your camera it must be enlarged somehow. You can either do it or the print lab will do it…but somebody is doing it. There are two ways that Photoshop can enlarge images for printing. It can either increase the number of pixels in the image (interpolation) or it can increase the “size” of the pixels (decrease the pixels per inch). Taken far enough, both of these methods will eventually lead to decreased image sharpness and detail. But Lightroom/Photoshop now do an excellent job enlarging. I find that I can at least double the output size of my original image file and still get excellent results. For example, without any enlarging an image from my 30.4 megapixel Canon 5D4 will print at roughly 15 x 22.5 inches at 300 ppi. This means that I can enlarge up to 30×45 at 300 ppi with very good detail and even up to 40×60 or larger if the image is very clean or when printing on textured paper or canvas, which doesn’t show as much fine detail anyway. Depending on the viewing distance, you could potentially go even larger. I have printed wall murals 15 feet high that look great because you have to stand back several feet to view them. They are not as sharp up close, but that’s not how they are meant to be viewed. So, if you want to print images larger than they come out of your camera I say go for it!

Q: Before you apply the sharpening for print, do you remove all other sharpening that might have been applied before in Lightroom?

A: I learned from the photography gurus, Mac Holbert and Jeff Schewe, to think of image sharpening in three phases: input sharpening, creative sharpening and output sharpening. Input sharpening is the fine sharpening you can do in LR or Camera Raw to tighten up the fine edges and optimize clarity that is lost with digital cameras (caused by low pass filters and pixel bleed). Creative sharpening is the interpretive and often localized sharpening (or blurring) and clarity work we do during the developing process to help guide the eye, create depth and dimension and showcase elements. Output sharpening is the sharpening done to an output copy to optimize the image for the particular output at the particular size. For example, an image sized to 1000 pixels wide for viewing on the internet has different output sharpening needs than an image sized to 18,000 pixels wide for a 60 inch print on canvas. All three of the sharpening passes are independent of the other and need to be determined on a case by case basis based on the qualities of the image and the intent of the photographer. But, in short…all three types of sharpening work together so don’t remove one to add the other. You do want to carefully evaluate and adjust them as you go to make sure that they are working in concert with each other, however.

Q: Do you also increase the exposure, contrast and vibrance when printing on your home printer?

A: Yes I do, but at home I can also soft proof with the ICC profile for my printer and the paper I’m using and I can run test prints and make adjustments until I get it just right…so the process is a bit more scientific.

Q: You selected the printer resolution of 2880 x 1440 in Output Sharpener Pro. How did you know what to select there?

A: This is another question you could ask your lab to find out what settings they use and be the most accurate, but the differences will be slight. On my own printer that is the ink dot resolution I print with. I didn’t ask Artmill what printer resolution they use so I went with that to be safe. Choosing a lower resolution in Sharpener Pro adds more sharpening to compensate for fewer dots of ink. If I don’t know the ink dot resolution the printer will put down on paper I feel it is better to err on the side of under sharpening than over sharpening.

Q: Are the Nik/Google plug-ins still available? It was great when Google made them free…but then I heard they were going to stop offering them. If they are still available then people should grab them while they can.

A: Yes still available at the moment. There are other options as well, including PhotoKit Sharpener 2.0 by PixelGenius, Topaz and others.

 

 

Sean is a full-time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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How To Customize Your Photoshop Workspace by Sean Bagshaw

Monday, November 7th, 2016

In the video tutorial below (email subscribers can click the title link to view the video on the web) I take you through a feature of Photoshop that is super helpful and pretty simple, but also something that can be a little confusing for a lot of people…customizing your Photoshop workspace.

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Photoshop is a massive application with powerful tools aimed at different types of uses…photography, digital painting, graphic design, 3D modeling and website development just to name a few. It arranges similar tools, functions and features into panels. You can also add custom panels to Photoshop, such as Tony Kuyper’s TKActions and Infinity Mask panels. Very few of us ever make regular use of every single Photoshop panel. In addition, we all have different workflow preferences and screen space limitations. The ability to create one or more custom workspaces in Photoshop enables you to personalize and evolve your space to best fit how you work and establish optimal efficiency and creative flow.

I hope you find this tutorial helpful. Please post in questions in the comments section and please share any of your own Photoshop workspace tricks and tips.

Sean is a full time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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A Lexicon of Post-Processing Terms in Landscape Photography Today

Thursday, October 27th, 2016

 

Landscape photographers are increasingly turning toward more interpretive modes of presentation in order to express their own ideas about the scenes that they encounter. New techniques in field work and related digital processing have fueled this development, often enabling photographers to produce images that were nearly impossible to achieve in the film era. These techniques address a plethora of age-old problems in landscape photography, from displaying a vast depth-of-field to escaping the constraints of shutter speeds and fixed angles of view. Whether the goal is to overcome limitations of current photographic equipment or to infuse a photograph with creative subjectivity, digital solutions have opened up a new world of options and have generated a world of terminology to go with them. In response to frequent requests for explanations of certain terms, I offer the following lexicon.

These terms are those that pertain to recent developments, advancements in field work and related post-processing made possible by the digital era. I have intentionally omitted common terms that have direct counterparts in darkroom development, such as dodging, burning, and cropping. This list is hardly exhaustive and is intended to highlight those techniques that have been most significant in landscape photography of the last decade. In addition, I have included terms that describe some newer techniques that I am increasingly asked to explain.

Reunion by Erin Babnik

 

BLENDS

Blends combine separate image files or else different treatments of a single file into a final image. Blending requires the use of layers and masking in editing software such as Adobe Photoshop. A ‘blend’ is generally distinct from a ‘composite’ in its use of source files created during a single photography outing at a particular location.


Exposure Blend:

Possibly the most essential of all blending techniques for landscape photographers is the Exposure Blend, which allows for selective control over tones in an image. A typical use of an exposure blend would be to present sky and land areas of a scene such that they appear to be in balance tonally, as the human eye might see them. Unlike the use of graduated filters, exposure blends allow for targeted tonal changes in any location of the image and at any level of opacity. These blends might combine different exposures produced as separate files or else differently processed iterations of a single raw file. Exposure Blends are typically achieved with freehand masking or with luminosity masking.

Click for more: Example 1 (By Sean Bagshaw) | Example 2 (By Chip Phillips)

Focal Length Blend:

This type of blend combines frames of a single scene that were shot at different focal lengths. The typical use of this kind of blend is to overcome the effects of “pancaking” or diminution of background features caused by the use of a wide-angle lens. By combining a longer focal length for a background with a wider one of a foreground, photographers can restore the prominence and presence of background features that might otherwise appear less impressive than they would in person. Focal Length Blends require manual blending using hard-edged masks.

Click for more: Example 1 (By Erin Babnik) | Example 2 (By Erin Babnik)

Perspective Blend:

One of the most versatile types of blending, the Perspective Blend allows the combination of frames shot using different nodal points. The most common type of Perspective Blend is the so-called “Vertorama”, which is essentially a vertically oriented panorama. Perspective Blends can also combine slightly different camera heights or angles that allow more descriptive or expressive views of certain foreground features without compromising the desired view of the background. Perspective Blends can be achieved with automated stitching software or with manual blending.

Click for more: Example 1 (By Erin Babnik) | Example 2 (By Erin Babnik)

Time Blend:

A Time Blend collapses together different moments of a natural event, allowing for a more extensive narrative or a more descriptive presentation, similar to what a video might accomplish. While an Exposure Blend might combine different moments that are only seconds apart (or less), a Time Blend could include instances that span across minutes or even an hour or more. A typical example would be a scene with fast-moving atmosphere and quickly changing light that showcases the most significant moments of the event. Another common variation on the technique is combining different shutter speeds in a single image, such as having a longer shutter speed to blur moving water and a shorter one to freeze foliage movement. Time Blends typically require freehand masking.

Click for more: Example 1 (By Erin Babnik) | Example 2 (By Enrico Fossati)

Twilight Blend:

This technique was developed to overcome problems of extreme dynamic range during twilight or night. The basic approach is to photograph land portions of a scene with ample ambient light separately from the night sky, keeping the camera in position on a tripod as long as it takes to create good exposures of both the land and the sky (typically about an hour). Twilight Blends can be achieved with freehand masking or with luminosity masking and usually require a substantial shift in white balance for the land portions of the image.

Click for more: Example 1 (By Miles Morgan) | Example 2 (By Michael Shainblum)

Close Encounter by Erin Babnik

 

STYLIZATIONS

These effects accentuate or augment a scene in ways that emphasize a mood and contribute to the style of a photo’s final presentation.


Glow/Light Bleed

When light shines through atmosphere that diffuses it substantially, any shadow areas behind the light lose contrast. The effect is often a pleasing, “glowy” one that emphasizes the light source. This natural phenomenon can be accentuated dramatically or even imitated outright by overlaying pixels that add brightness and diffusion. These pixels might be layers of bright color or selected areas of a blurred and brightened copy of the image file. The opacity of the effect is generally highest closer to the light source, typically requiring freehand application for naturalistic results. Photographer Ryan Dyar is widely regarded as the greatest pioneer of this technique, and his portfolio contains many images that exemplify it.

Click for more: Example 1 (By Ryan Dyar) | Example 2 (By Kevin McNeal)

Light Painting

Light Painting in processing is akin to dodging and burning in that it selectively brightens or darkens areas of an image, often with a change in hue involved as well. A typical application might add brightness and warmth to selected highlight areas and add cooler hues to darker ones in order to emphasize visual hierarchy, to direct eye movement, or to emphasize depth. Light Painting is usually best controlled with a combination of luminosity masks and freehand application, and it may involve the use of numerous layers that build up to a result like glazing techniques in oil painting. (Note that this is a processing technique that should not be confused with in-field “Light Painting”, which involves using artificial light sources and long exposures in low light situations.)

Click for more: Example 1 (By Erin Babnik) | Example 2 (By Ted Gore)

Orton Effect

This effect does have a direct counterpart in darkroom development, but I decided to include it in this lexicon because it has been widely adopted and adapted in the digital era. Photographer Michael Orton originated the technique using slide film in the mid-1980’s as a means of emulating the “Pen and Ink and Watercolor” technique of painting that produced a dreamy effect through its combination of media with different qualities. To create a similar effect with photography, Orton sandwiched together two slides that he took of a single scene, one slide with high detail and little color, along with a second slide that was out of focus and very colorful. Digital applications of this idea are numerous, ranging from subtle treatments that simply offset the effects of web sharpening, to more emphatic treatments that lend a painterly, glowing quality to an image. Numerous software filters, plug-ins, and scripts exist for automated applications of the effect, and of course manual applications are possible using layers in Photoshop.

Click for more: Example 1 (By Zack Schnepf) | Example 2 (By Chip Phillips)

Ruby Tuesday by Erin Babnik

 

FUNDAMENTAL TECHNIQUES

The following techniques are among those that have been foundational in the more progressive strands of landscape photography in the digital era. They have opened up new options for composition, subject matter, conditions, locations, and timing to the extent that they lie at the heart of a distinct zeitgeist that has become evident in the last decade.


Focus Stacking

Focus stacking combines files shot with different focus points in order achieve a greater depth of field than would be possible in a single file. With this technique it is possible to have sharp focus on features at the very closest focusing distance of a lens while also having the same level of sharpness for everything else in a scene, all the way out to infinity focus. There are numerous standalone software programs that can automate the process of focus stacking, and Photoshop has stock features for focus stacking as well. Focus stacking can also be achieved manually via blending with layers and masks, although a manual blend is easiest to achieve with images that do not require  the combination of many focus points.

Click for more: Example 1 (By Erin Babnik) | Example 2 (By Justin Grimm)

HDR

The acronym for “High Dynamic Range”, this term describes any process that combines different exposures for the purpose of increasing the range of tones in an image beyond what is achievable in a single exposure. Many photographers reserve this term to distinguish automated processes that effect image tonality globally in a photograph, as distinct from manual blending techniques that allow highly selective control over tones in an image (see Exposure Blending above).

Luminosity Masking

A luminosity mask is a blending tool that allows precise targeting of tones in an image. The most common uses of a luminosity mask are exposure blending, dodging, and burning, but these masks are useful for a huge variety of editing tasks, including color work, light painting, adding light bleed, and creating custom Orton effects, among others. A luminosity mask is a type of “found mask”, which is any mask created from one of the eleven standard channels available in different image modes within Photoshop. The channel that all luminosity masks derive from is the Gray channel, which contains only the luminance values for a given image. Channels that contain color values, such as the Red or Blue channels, can also be very useful and work in the same way that luminosity masks do. Because found masks use gradations of tones or colors that exist as pixels in a photograph, they are much more precise for blending tasks than freehand masking is, and they are less likely to produce unwanted ‘halos’ and artifacts, as can happen easily with simple applications of hard-edged masks (that is, those created with selection tools such as the Lasso Tool). There are numerous Photoshop action sets available to create luminosity masks quickly and easily, the most popular being those available from Tony Kuyper.

Click for more: Example 1 (By Sean Bagshaw) | Example 2 (By Adrian Klein)

Hard Mask vs. Luminosity Mask

Stitching

Stitching refers to the process of seamlessly combining frames shot by panning a camera horizontally, vertically, or both. There are numerous standalone software programs for creating stitched images, and some are very sophisticated, allowing photographers to stitch together frames from very wide focal lengths and from different nodal points. Photoshop also has features that enable automated stitching, and of course manual solutions exist as well.

Click for more: Example 1 (By Marc Adamus) | Example 2 (By David Thompson)

Warping

Warping is a selective distortion of an image that has countless uses. Common examples include altering the relative proportions of certain parts of a scene, pulling unwanted edge details out of the frame, shifting regions of an image within the frame, correcting leaning features, and adding curvature to straight elements. Warping can be accomplished with the very edge of an ultra-wide-angle lens or with software tools, but blending with another layer of image data that contains normal proportions for the rest of the scene is usually necessary in either case. Although numerous software programs have warping features, Photoshop includes the most variety of them and offers the greatest amount of control, especially given the option to use masking for more targeted effects.

Click for more: Example 1 (By Ted Gore) | Example 2 (By David Thompson)

Backdraft by Erin Babnik

 

WHEN, WHY,  AND HOW MUCH?

My own preference is to use processing solutions creatively but conservatively, always striving for a high level of naturalism and subtlety and without creating images that have no basis in my own experiences. Nonetheless, those limitations are merely my preferences for my own output, and I enjoy seeing compelling photographs that push beyond the limits that I might set for myself. Perhaps the most important consideration for any type of processing is the rationale for choosing a particular technique. Like any decisions in art, those that work in the service of a creative goal are more likely to produce satisfying results. Anything done with intention tends to register with more viewers, allowing them to discover points where craft and ideas come together in powerful, meaningful displays of creative choice.

**Special thanks to the artists whose images are linked in this article and who collaborated with me on the selection of them!


Can you guess which of these techniques went into the photographs displayed in this article? Do you have any questions about any of these terms? Would you like to suggest terms for inclusion in future versions of this lexicon? If so, please feel free to chime in below.

 

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Erin divides her time between Cascadia’s Californian southern boundary and Slovenia, traveling and photographing extensively from home bases in both locations. Make sure to bookmark Erin’s site at www.erinbabnik.com. You can also follow her on FacebookTwitter and Instagram.

Accessing Large Document PSB Files In Lightroom And Bridge

Monday, September 19th, 2016
First light on the Smoking Mountain, Fitz Roy.

First light on the Smoking Mountain, Fitz Roy.

The video tutorial below shows how to save image files that exceed the TIFF file size limit as PSB files and also how to access them in Lightroom and Bridge. This is a challenge that is becoming more common as digital camera resolution increases and as stitching multiple images to make super high resolution photos becomes more popular. I hope you find it helpful. If you have any questions or tips for working with large image files that you have found helpful make sure to share them in the comments section below.

As digital camera resolution continues to increase, with 30 to 50 MP cameras becoming the norm, and as photographers employ more advanced PS techniques with lots of layers, smart objects and luminosity masks, it is common to bump up against image file size limitations. PSD files have a maximum file size limit of 2GB. TIFF files have a 4GB size limit. Unfortunately Photoshop doesn’t do a good job of predicting final saved file size when there are a lot of layers, masks and smart objects involved. So even when the file size indicator shows a file size of less than 4GB you will often get an error message when trying to save. I find that many of my images indicate a file size of less than 3GB but actually exceed the 4GB size limit.

I frequently get questions from photographers wondering what to do when their images exceed the size limit. When an image exceeds the 4GB tiff limit the solution is to save it as a PSB file, where “B” stands for big. PSB files have a size limit of 4 exabytes! I had never heard of an exabyte before, but apparently it is a million terabytes, so the PSB format should do the trick for just about any image considering that my computer only has a measly 8 terabytes of hard drive space anyway.

PSB files are a the solution, but they don’t come without their own issues. You can see them in Bridge, but they don’t generate a thumbnail, so you can’t tell what the image is just by looking at it.

If you are a Lightroom user then you currently can’t even import PSB files into your Lightroom catalog at all. This is a problem for me because I do use LR extensively for cataloging and locating my images. If I don’t see an image in LR I quickly forget it even exists. It also means that I can’t include the image in Lightroom slide shows, collections or print it from Lightroom. Even if I do remember that I have a particular PSB image it is a hassle trying to hunt down where it is so I can open it in PS. It would really be nice if Adobe would add PSB support to Lightroom, but I’m not the first person to say this and so far they haven’t.

Until then, here is a solution that will enable you to see PSB images in Lightroom and Bridge. It’s less than perfect, but better than nothing. I’ll also mention that I didn’t figure this out. As with most of what I know about photography, I learned it through the kindness of others who are smarter than I am and I’m just paying the knowledge forward. Check out the video to see how to save PSB files and how to access them in Lightroom.

 

Sean is a full time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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Using The New Select and Mask Feature in Photoshop CC 2015.5

Tuesday, August 2nd, 2016

Cuernos-del-Torre

I have to say that getting regular Photoshop updates and new features through my Creative Cloud subscription has been great. In the most recent update to CC Adobe gave the Refine Selection/Refine Mask features a big overhaul and combined them into a single new task space called Select and Mask. This new task space makes it even easier to create selections and refine them so your masks can be even more precise and will target adjustments just how you intend. It seems that the edge detection ability in this new feature has also been improved over the old Refine tool, making even better selections of very fine details, such as grass, hair and tree branches.

In this video tutorial I demonstrate how to use the new Select and Mask feature and also show how it can be used in conjunction with the TKActions V4 panel, even though this feature didn’t exist when the panel came out.

Sean is a full time photographer and photography educator. You can see more of his images and find out about his video tutorial courses and upcoming workshops, tours and classes on his website at www.OutdoorExposurePhoto.com.

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How To Use The Radial Tool In Post Processing To Maximize Impact

Monday, June 27th, 2016

One of the my favorite tools to use when post processing is the Radial Tool which can be found in either Adobe Camera Raw 7.0 and higher or Adobe Lightroom 6. The purpose of the Radial tool is direct attention to a certain focal point or subject by using a vignette effect. To be more specific I use it to really add drama and impact to my images by way of mood. The Radial filter allows you to make changes to a part of the image called a localized adjustment. This localized adjustment can be used to really draw your audience into a part of the image you want them to focus on. For most of my images this is where the main subject can be found. I can use the radial filter to do almost anything to this area of the image.

Where to Find The Radial Filter In Camera RAW

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The Radial Filter Dialog Box In Camera RAW and Its Tools

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In this article I will describe a few of my favorite techniques when using the radial filter.

How you chose to apply the filter depends on you and your vision for the image. Once the filter is open you are given several options when applying the filter.

Here are some of my favorite options when using the radial filter to create impact in images.

The first option is to either choose to have the effect on the inside or the outside of the radial filter. I like to apply the effect to the inside of the radial filter.

Inside Or Out

Once that is chosen you are then presented several different options to apply to that area of the image. When I am looking to add drama and mood to my image the first thing I do is decide on a mood for the image by choosing a warm or cool temperature for the area I am looking to have the viewer focus on. I am very fond of using a warm color temperature inside the radius of the radial took to create a strong tension. This is especially important when the rest of the image has a cooler overall tone. In general, studies have shown that people are more attracted to warmer colors. Applying a warm color temperature inside the radial filter is great way to draw the viewer into the part of the image you want them to look at.

Temperature

Secondly, the next option is exposure and whether to increase or decrease it. As a general rule for maximum impact I like to do the opposite in the radial filter of what the rest of the image looks like. Thus, I have found that I like to increase the exposure inside the radial filter while overall globally decreasing the overall exposure outside the filter. This gives the image the added drama through light and tones. This all gives a certain mood to the image that I would describe as ethereal. I use the contrast, highlight, shadow, white, and blacks in conjunction with the exposure to achieve the desired effect. While exposure is the main tool, I use the other tools just mentioned help to accentuate the exposure to get it looking just right.

Exposure

Thirdly, I like to use the combination of the clarity, dehaze, and saturation tools together to achieve a soft, surreal, and painterly look just inside the radial filter area. You can also combine these three tools with the sharpness and noise reduction options to really fine-tune your results. The subject inside the radial filter will determine whether you increase or decrease it. For example, if I am working with the sun or another source of light coming into the image; I will decrease the clarity and dehaze tools. I generally always increase the saturation a small amount within the radial filter to really maximize the impact.

Clarity

The last important tool when applying the radial filter is the feather effect. By my experience I have always had good results with the feather at a high amount. Thus, the gradient is smooth and not as noticeable. It’s important for your changes in the radial filter to look natural even though the results are adding more drama.

Feather

Applying the radial filter is a great way to add a substantial impact and mood to your image overall. My choosing where to use it you can accentuate light and mood together to achieve excellent

The following is how to get to the radial filter within Photoshop:

***Important You Can Get To The Radial Filter In Camera RAW with the Shortcut Letter”J”

Or In Lightroom Shift + M

(The following instructions are direct from the Adobe Help Page on the Radial Filter)

you can also visit: https://helpx.adobe.com/lightroom/help/lightroom-radial-filter.html

The Radial Tool In Camera RAW

Before The Radial Tool In Camera RAW 

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While Applying The Radial Tool In Camera RAW

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After Using The Radial Tool In Camera RAW

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How To Get To The Radial Tool In Photoshop

  • ) Open one of the following:
    • Open a camera raw file.
    • With an image open in Photoshop, choose Filter > Camera Raw Filter.
  • ) Select the Radial Filter tool from the toolbar.


Press J to toggle the Radial Filter tool.


  • ) Use the New and Edit radio button options to choose whether you want to create a filter or edit an existing filter.
  • ) Do one of the following:
    • To create a Radial filter, click and drag across the region, and draw a circular or elliptical shape. This shape determines the area affected or excluded from the alterations you are about to perform.
    • To edit a Radial filter, click any of the gray handles on the photo. When selected, the handle turns red.
  • 
)


To determine what area of the photo is modified, choose an Effect option (located below the sliders).
    • OutsideAll modifications are applied outside the selected area.
    • InsideAll modifications are applied to the selected area.
  • ) Adjust the size (width and height) and orientation of the Radial filter added. Select a filter and:
    • Click and drag the center of the filter to move and reposition it.
    • Hover the pointer over any of the four filter handles, and when the pointer icon changes, click and drag to change the size of the filter.

Hover the pointer close to the edge of the filter, and when the pointer icon changes, click and drag the edge of the filter to change the orientation.

Where To Find The Radial Tool In Lightroom

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In the Develop module, select the Radial Filter tool from the too


lstrip

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  • The Radial Filter tool (Shift + M) is available in the Develop module.

 







2) Do one of the following:

  • To create a Radial Filter, click and drag the mouse across the region of interest. This will draw an elliptical shape, which determines the area that is either affected or excluded from the adjustments you perform.
  • To edit an existing Radial Filter, click any of the gray handles on the photo

While drawing, press Shift to constrain the Radial Filter to a circle.



 

3) To determine what area of the photo is modified, select or clear the Invert Mask checkbox. The checkbox, by default, is not selected.

  • Invert Mask not selected (default): Changing any setting affects the image region outside the marquee area.
  • Invert Mask selected: Changing any setting affects the image region inside the marquee area.

 

4) Adjust the size (width and height) and orientation of the Radial Filter added. Select a filter, and:

  • Click and drag the center of the filter to move and reposition it.
  • Hover the pointer over any of the four filter handles, and when the pointer icon changes, click and drag to change the size of the filter.
  • Hover the pointer close to the edge of the filter, and when the pointer icon changes, click and drag the edge of the filter to change the orientation.

The filter area is represented by an elliptical marquee area.

 

5) Use the adjustment sliders (shown in step 1) to create the desired visual changes. Use the Feather slider to adjust the visual falloff of the applied adjustment.

6) Repeat steps 2 through 5 to continue adding or editing filters.

7) Click Reset, to remove all the Radial Filters applied to your image.

Needle In The Haystack – Finding Imperfections On Large Prints

Monday, May 23rd, 2016

 

Note: Don’t scroll down right away if you want to “test” yourself on this post with the first set of images before looking over the second set.

Recently I had over a dozen different photos printed for a project I am working on, many of them what I would classify as large (>=24×36) and some of them it was the first time I printed them large. Looking over the final prints as I signed them, I couldn’t find any imperfections that jumped out at me which I can’t say is always the case.

I always try what I can to see blemishes or imperfections that will only make themselves known when showing up to your doorstep or the client when printed large, but are tricky to spot before you ship the files to the lab. What looks fine as web size or even filling up the full screen on a decent size monitor may look like an issue on a large print.

Here are four examples that went to print that either myself or the client caught a potential issue after it was printed. The first set of images is for you to look over and see if you notice something that might be an issue when blown up. Realize that this is also somewhat subjective, you could notice something that I think is fine and vice versa. Plus you may not agree with what I am choosing to clean up which is another topic all together. I also realize that having a large web sized file makes it tough but know for all these cases the image you first see has an ‘issue’ that required me to reprint it. Take a look at them and see if you notice what it is, note you will need to click on them to view the larger size. I will say two of them are very hard to pick out which is my intention here. Then scroll down to the images further in the post to see if it’s the same as you found.

Paint Splatter

Painted200-30x45

TumaloMountain-022413_0084

Rocky Reflections

 

The question of course is what to do to try and spot issues when printing larger prints as early in the printing process as possible. Here are ones I have used either on their own or various combinations. I find #2 being the best choice given I have enough time for the order in question.

1.    View at Print Size – Review the photo at 100% or size you will print within Photoshop and pan around from corner to corner. Anything that looks funky or out of place will likely look the same or worse when you get the large print. For reference my processing setup includes two monitors with my main one a 24”.

2.    Test Print – Before you spend $300 or $400 for that large metal or canvas print order a less expensive paper print. Many labs have different paper options and you can choose a lower/regular quality option for this purpose.

3.    Big Screen – If you don’t have a huge 30″ monitor display on your TV or project if you have a projector. Yes the resolution won’t be the same as your computer monitor yet you can still see it large for possible issues to clean up. If you notice them here you certainly will on a finer resolution print.

4.    Stop Staring – Don’t stare at the digital file roaming around endlessly without stepping away and come back later in the day or next day. You look too long and start to see what you want, a file that’s ready to go to the lab whether it is or isn’t!

****************

Below are what I deemed potential imperfections or issues on each image (shown with black square zooming 100% to specific spot) with my comments on each.

Photo – lichen on rock near Lake Abert, Oregon. In this case when I got the 24×36 metal print from the lab, I was sure it was a scratch from shipping or something from the lab. Then I looked at my file. This white hair, likely from an animal was nothing that jumped out to me on my 24” monitor but once I got the metal print I realized I could not let it go to my client. I had to reorder after cleaning it up.

5-21-2016 2-54-35 PM

Photo – White River Falls, Oregon. Here I shipped off a 30×45 paper print to a gallery/frame shop that they ordered. I got a call that there was something that looked like a black hair in the image. I said what?! I looked over the actual print before it went out. I pulled up the file and low and behold there is this hair-like line that I am guessing is from zooming is a piece of rebar that got stuck with the rocks.

5-21-2016 3-11-54 PM

Photo – Tumalo Mountain, Oregon summit in winter. This one is more obvious and I should have noticed it but goes to show you even the objects that I feel should be cleaned up sometimes are missed. You could waiver either way about it leaving the avalanche warning sign but in the end it was a distraction and I felt should not be left in the image looking at it large.

5-21-2016 3-32-14 PM

Photo – Mount Jefferson, Oregon reflected in seasonal tarn. This is one that is probably the most subjective. These white’ish rocks in this tarn looked fine small yet when I received the 24×36 canvas they looked like a printing issue, not rocks. They really did not look right to me. That said in this case I rationalized that it was part of the image and I was letting the small details take me over beyond a reasonable manner. It went to the client and they were thrilled with the canvas piece.

5-22-2016 7-21-44 AM

These are just a few examples that quickly came to mind when writing this blog post that I thought were worth sharing. Even though I am not printing or selling at a high volume I value the quality of my work which is why I pay attention to these details while trying to not let it consume me. It’s always a tricky balance. Feel free to share other tips you have on this as I would welcome hearing them.

New Luminoisty Mask Tools: Infinity Masks and Zone Picker

Tuesday, November 3rd, 2015

If you are a TKActions user, luminosity mask enthusiast or just like to keep up to date with the most current tools and techniques available for high end image developing, then this article will interest you. If you aren’t versed in what luminosity masks are then you might want to check out these articles first and then come back.

Vermilion-Marsh

Right now I won’t ramble on the benefits of using luminosity masks as part of a finely controlled Photoshop workflow or the backstory of how Tony Kuyper introduced these techniques to the world of nature and landscape photography a decade ago. Those topics have been well covered before.

The main story here is that Tony consistently innovates and improves the way his custom Photoshop actions panel generates luminosity masks. In June he released the current iteration of the TKActions Panel, Version 4, which introduced a completely new interface, added a ton of features and increased the overall efficiency. Despite that, he has already added new features and tools to the V4 panel that I wasn’t able to include in the Video Guide to TKActions or Complete Guide to Luminosity Masks, 2nd Edition tutorials.

The two main new tools in the latest update are Infinity Masks and the Zone Picker and they both offer significantly different and intuitive methods of generating very specific luminosity selections and masks. If you currently own the TKActions V4 panel then you already have these features, although you many not have realized it yet. If you purchased the V4 panel through the Adobe Add-Ons website then you may need to update the panel through your Adobe My Add-Ons account and the CC Desktop App for the new tools to show up.

In addition to Infinity Masks and the Zone Picker, other updates include transparent dodge and burn layers, layer bookmarking, View Button support in Lab mode and the ability to toggle between red and blue view modes. Tony recently published an article on his blog that explains the new tools and features in detail.

In an effort to help everyone stay informed and get full use of the features, I produced the following tutorial. In addition to watching the video here online you can use the link I include below to download it to your computer for free and add it to your library. The video is now also included as a bonus chapter in the Video Guide to TKActions series. I hope you find it to be helpful and that you are able to put the new tools to use in your image developing. If you have any questions be sure to leave a comment below or contact me.

Helpful links:

New HDR and Panorama Photo Merge in Lightroom CC (2015)

Wednesday, April 22nd, 2015

 

In the video tutorial below I demonstrate two exciting advances in the April 21 release of Lightroom CC (2015), Photo Merge to HDR and Photo Merge to Panorama. Lightroom has gone through substantial improvements over the years to give photographers more control in developing their images. However, until now, techniques involving the merging of more than one exposure or frame had to be done in Photoshop or third party software. Now you can merge multiple exposures to create HDR images all within LR and you can also merge frames to create both vertical and horizontal panoramas. Wow! Nice job Adobe.

Four exposures merged to an HDR raw file and adjusted in LR CC before opening in PS for additional developing.

Four exposures merged to an HDR raw file and adjusted in LR CC before opening in PS for additional developing.

Both merge features combine raw files to produce a merged DNG raw file, which is brilliant! This means we can merge first and make our adjustments directly to the merged raw file, which I assume retains all the adjustment capabilities of the originating raw files. In addition, the merged HDR or pano DNG can be opened as a tiff file in Photoshop for additional developing there.

Lightroom Photo Merge to HDR is similar to the 32-bit HDR tiff file processing capability that was first introduced back in LR 4 and which I demonstrated in a previous video blog and also include in my Developing for Extended Dynamic Range video series. This process is now greatly simplified in Lightroom CC and no longer requires Photoshop!

Photo Merge to Panorama allows you to stitch, crop and develop multi-frame panoramas without needing to go to Photoshop or some other image stitching application, and the panoramic DNG file can be fully developed in Lightroom like any raw file.

Three frames merged into a DNG panorama and adjusted in LR CC before opening in PS for additional developing.

Three frames merged into a DNG panorama and adjusted in LR CC before opening in PS for additional developing.

Finally, you can create high dynamic range panoramas by first creating merged HDR files for each frame in the pano series and then merging these HDR raw files into an HDR panorama. The resulting output is a high dynamic range panorama raw file that can be fully developed in Lightroom.

While working with merged HDR images in Lightroom still doesn’t provide the same degree of fine control that you can get when manually blending exposures in Photoshop, and I don’t think it handles the most extreme dynamic range as well, it provides an excellent and efficient option for many situations. Photographers who only use Lightroom can now create blended high dynamic range images and panoramas like the rest of us, which is huge for them. I also think that photographers who have previously used Photoshop or other applications to accomplish these types of multi-image blending tasks will find the new functionality of Lightroom to be a great benefit in many cases.

NOTE: Many people have had trouble getting Lightroom CC (2015) to open after it has been installed from the Creative Cloud desktop app. If you have this issue try logging out of your Creative Cloud desktop app (logging out, not closing it) and then logging back in. This fixed the issue for me and many other folks on the Adobe forums. Also, LR CC installs along side LR 5, so you can open either one unless you uninstall LR 5, and this can be a little confusing. LR 5 shows up as “Adobe Photoshop Lightroom” and LR CC shows up as “Adobe Lightroom” on my computer. It would have been nice if Adobe had labeled them Lightroom 5 and Lightroom CC instead.

Why I Don’t Bracket Images Anymore -Kevin McNeal

Tuesday, March 10th, 2015
Final Result - Sunset At Cinque terre

Final Result – Sunset At Cinque terre

While starting out in photography I owned nothing but Canon cameras. I owned the Canon 5d Mk1 and moved way through the series. It all started with the Canon 5D Mark 2, where I would religiously bracket at least three images for every scene. The results I got with my Canon when I just shot a single exposure for the scene was often not enough coverage in terms of tonal range. What was happening was that I would end up either blowing highlights or blocking the shadows.

It was the general consensus that several years ago to capture dynamic range in any photography scene you needed to take several photos. This would range from-3 under exposure to +3 overexposure. I would bracket at 1-stop exposures so that I included the wide spectrum of tonal values in the scene. At the time, several third-party applications were coming out as well as Photoshop that would be capable of merging several images into a single Image. When arrival of these applications, HDR (high dynamic range) became the big thing. It was really fascinating to capture so many images and merge all of them into a single file. The results for the time we’re Incredible and people started to compare it to medium format photography. But like a lot of things in photography, HDR went too far and quickly received a bad name.

So I chose to explore a few applications and found one called exposure fusion within a program called Photomatix Pro which merged all images together to include all the dynamic range and yet receive realistic result. I was very happy with the results once I learned to fine tune the application but nevertheless took a lot of time to post process images in HDR.

I realized that I was spending a good portion of time now post processing and lot less time in the field shooting so I was always looking for a better solution.

A few years had passed and lots of people still were involved heavily with HDR even though cameras were getting better and better. Digital cameras were now getting behind the movement of more megapixels. The change came for me when Nikon decided to put out a D800 at 36 megapixels. I waited and waited for Canon to follow suit but it never happened. At this time I chose to make the move over to Nikon from Canon because the Nikon D800 had been receiving rave reviews. For my business this was perfect. I could now make larger prints and have the option to crop within the image. This cropping would allow me to eliminate things from the image and still have enough resolution in the image to print large.

In the beginning, the transition was hard and slow moving from Canon to Nikon but eventually it was a saving grace. One of the most unexpected benefits was the dynamic range of the Nikon D800. I immediately noticed that I was capturing the whole scene in terms of tonal range in a single file. For a while I thought this might be a mistake. But exposure after exposure I was able to post process the images from the single file.

As time went on, I began to grow more confident in being able to take a single exposure. Eventually I was not even bracketing as a backup except for situations of extreme contrast. I even noticed I was able to under expose the image and then bring out the shadows in post-processing. With the Canon if I had tried to bring out the shadows I would always have noise that would show throughout the image. This was not the case with the Nikon, which was pretty amazing to see and still is nice to demonstrate to people who shoot Canon.

Shooting one single exposure allows you really to focus on the composition and light. It has also had the added benefit of really allowing me to get into the scene and not worry whether I have everything I need in terms of exposure.

I now own the Nikon D810, which is even better and such an amazing camera when it comes to controlling highlights and avoiding blocked shadows in a single exposure. I shoot freely in low light situations and don’t worry about covering the tonal range of a scene.

When it comes to the histogram on the Nikon D810 I am often asked one should look for when shooting one exposure. Through trial and error I have found excellent results with the histogram if I aim to most of the data and information just to the left of the middle, which would mean I slightly underexpose the image. I know this goes against everything we have been taught from before with exposing to the right, but the Nikon D810 is a revolution and is changing the game. Aiming to have my information on my histogram slightly to the left I do need to make sure I don’t have any clipped highlights as the Nikon is much better at shadows then it is with clipped highlights. So when focusing on a landscape scene I generally will set the exposure on my foreground and go about a half stop to one stop under while making sure I don’t blow the highlights in the sky. I always like to review my histogram after each image just to make sure all the information is present.

The Original Camera Raw Image One Stop Underexposed

Original RAW file underexposed a stop

Original RAW file underexposed a stop

 

Histogram With Information Underexposed 1 Stop to the left

Screen Shot 2015-03-10 at 6.21.43 AM

 

The Long Exposure On The Water

Long Exposure Of The Water

Long Exposure Of The Water

I will be very curious to see in the upcoming months if the new series of Canon 50 Megapixel cameras will focus on dynamic range or will it just be a megapixel monster?

Needless to say I am a very happy with the results of the dynamic range of the Nikon and look forward to get out and shooting lots more now that I don’t have to bracket!