Archive for the ‘Photoshop’ 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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