Showing posts with label Photography Tips. Show all posts
Showing posts with label Photography Tips. Show all posts

Friday, December 2, 2011

Don't miss Photography and Photoshop: A Creative Fusion with Ben Willmore!



Push your photography way beyond what is possible "in camera" to produce fine art imagery that takes full advantage of a purely digital workflow. Only a week left to register!














Prevent snapping
When dragging a layer or selection near the edge of a document or layer, Photoshop snaps the edge of the object you’re working with to the edge of the document, layer, or selection that’s currently active. To prevent this, hold down the Control (PC: Ctrl) key after you start dragging the layer or selection and the snapping will be temporarily disabled.

Reposition selections
Click-and-drag with the Rectangular Marquee tool (M) or Elliptical Marquee tool and then press-and-hold the Spacebar to reposition the selection before releasing the mouse button. This is especially useful when attempting to create an elliptical selection
that aligns with an existing object.

Cycle through blend modes
When the Move tool (V) is active, hold down the Shift key and press the plus (+) or minus (–) key to change the blend mode of the active layer in the Layers panel. If the Brush tool (B) or a retouching tool is active, then the same keyboard shortcut will change the
blend mode of the active tool instead in the Options Bar.

Fit on Screen
If you ever copy-and-paste an image from a larger image into a smaller one, and then proceed to transform (Command-T [PC: Ctrl-T]) the resulting layer, you’ll  find that the transformation handles appear outside your view of the document (because they’re beyond the document’s bounds). When that’s the case, press Command- 0 (PC: Ctrl-0) to use the Fit on Screen command to see the transformation handles that are attached to the active layer.

Reset any tool
If any tool is acting oddly, consider resetting the tool. Right-click on the tool icon in the upper-left corner of the Options Bar and choose Reset Tool from the menu that appears.

Multiple undos
Command-Z (PC: Ctrl-Z) works fine when all you want is to undo a single step. If you need to undo multiple steps, add the Option (PC: Alt) key to the aforementioned keyboard shortcut first to be able to apply multiple undos. You can also control how many undos are available. Choose Photoshop (PC: Edit)>Preferences> Performance and in the History & Cache section, change the History States setting.

Cycle through open windows
Press Control-Tab to cycle through the open documents in Photoshop. Adding the Shift key will reverse the direction that the documents are displayed in.

Brush to Eyedropper
Any time the Brush tool (B) is active, hold down the Option (PC: Alt) key and click on an open image to choose a color within the document to paint with. This is the same as temporarily switching to the Eyedropper tool (I).

Painting on a mask
When painting on a mask with the Brush tool (B), press X to swap the Foreground and Background colors, press D to reset the Foreground and Background colors to their defaults, and use the number keys on the keyboard to change the Opacity of the active brush in the Options Bar.

Target a layer
When the Move tool (V) is active, hold down the Command (PC: Ctrl) key and click to target the top-most layer that contains information that’s directly below your mouse position. Hold down the Shift key to add additional layers to the ones that are already selected.

Friday, September 9, 2011

Teachers Learning from their Students

Don Monkerud is a writer from Santa Cruz, California, and one of our students here at Light Workshops. Recently, Don sent us a story that we feel is a great lesson for amateurs and pro photographers alike. 
****

Photography Tip to Keep in Mind


Anyone who photographs people, especially in public, invariably runs 
into the irate subject or bystander who objects to having their, or 
someone else's photograph taken.


My rule of thumb is always to ask permission, but occasionally I'm 
working too fast, already gained permission earlier, or simply 
Image by Don Monkerud
overlooked asking the subject for their permission. Sometimes such oversights can become costly, in embarrassment, rejection, mistreatment or even loss of a job.


A recent incident in the local jazz club where an experienced photographer has been taking photographs for years can be a reminder to all photographers. Over the years, he became somewhat lackadaisical about showing up at the beginning of musicians' sets, instead showing up midway through their sets and simply snapping away.


While posted signs and an announcement at the beginning inform listeners that there is to be no recording or photography during the show, the club photographer volunteers to take photographs for the 
club's website.


The last time he showed up after a show began and started snapping 
away, the singer stopped the musicians in the middle of a song and 
demanded that he erase all the photos on his card. Who the hell did 
he think he was? He mumbled an expletive half under his breath, which 
didn't go over well either.


Image by Don Monkerud
The new photographer makes a point of showing up during the sound check to ask permission. A valuable lesson, for I'm sure the original photographer was not only embarrassed but also humiliated, and he lost his gig. The lesson is to always ask permission and not get so used to a regular gig as to become lackadaisical.


A question about usage also arises. While this has been a volunteer job, what rights does the photographer have to the work? The initial meeting with the musicians is the time to set the parameters: Can the photographer use the photos only for the club? What about art shows or sales on a website? Should an agreement be signed? etc.


Whatever rights are requested and granted, the photographer must to 
be aware of the first rule in taking photographs in such a setting: 
Always ask permission.


By Don Monkerud
Copyright2011
****

We are happy that Don was willing to share this learning experience so that all of us could learn from it. If you have had a photography experience that you feel others can learn from please share them with us! Contact us at info@lightworkshops.com with your tips and shooting stories.


For more photography tips you can visit our Light Photographic Workshops Page or our California Photo Festival Page on Facebook. Sign-up to receive our weekly Newsletter and be the first to see the latest updates to our workshop schedule and get more photography tips from our fabulous instructors!



Fiat Lux! 


Thursday, September 8, 2011

A Great Tip from Wildlife Photography Specialist Juan Pons


Connecting with your subject

The most compelling photos are those that create a connection between your subject and your viewer. This not only applies to wildlife photography, but just about every other type, such as portrait, wedding, human interest, travel, Photojournalism, etc.

As the old cliché goes, “You never get a second chance to make a first impression”, so make sure your viewer connects with your image right from the get go.

The most effective way to create that connection is to maintain eye level with your subject, I am always amazed by how so many people will take images from a standing position without regard to their relative eye level to their subject. I see this all too often when judging competitions at local photo clubs.
Photo by Juan Pons
For example, a beginning photographer will go to a local park or botanical garden to shoot some of the very tame and accessible waterfowl on a local pond, they will stand at the bank of said pond and as the birds are accustomed to being fed, they will approach. While standing the photographer will let it rip and take a bunch of images.

Unfortunately most, if not all, of those images will be very uninspiring. Why? Because they will show the subject while you are looking down at it, with hardly any eye contact. Without that eye contact it will be very difficult for the viewer to make a connection to the subject of your image. Also we are all accustomed to seeing ducks and other waterfowl from a standing position. An image that presents an unusual or fresh view on a subject has a better chance of having an immediate impact on the viewer, hence a good first impression.
Photo by Juan Pons

Getting down low, very low, even lying down on the ground, to get at eye level is crucial in this situation in order to get an eye level shot.

In the two images shown accompanying this tip, I was in such a park, where the birds were tame and accustomed to humans. They would get very close looking for a handout.

I was lying down on the ground, with my lens on a beanbag getting shots as close to eye level as I possibly could. Being eye level to the Wood and Ruddy ducks present images of subjects that are engaged with the viewer and as such they are much more attractive and appealing; hopefully images that connect with the viewer.

We're excited to have Juan Pons as one of our instructors at this year's California Photo Festival, October 12-16, 2011! Juan will be here teaching wildlife photography, video DSLR techniques and more!
Click here to see all of Juan's festival events! 

Join us this year for the largest photography event on the Central Coast! Register today at www.CaliforniaPhotoFest.com

Get more tips from our festival instructors by visiting our California Photo Festival Page on Facebook!


Thursday, July 28, 2011

California Photo Festival Spotlight: Rob Sheppard

We are very excited to have Rob Sheppard back again for the 2nd annual California Photo Festival!
Rob will be teaching a number of techniques including Lightroom workflow, Basics of Digital Video, and Landscape Photography.

Get a sneak peak of what you can learn from Rob by checking out this great video and tip on shooting
video with your DSLR.


A lot of photographers are interested in shooting video because most new cameras include this capability. Good video needs good sound, which is not something a photographer has usually paid attention to.

First off, you need to be close to your subject, or find a way to get a microphone close. No DSLR with video capabilities has a quality microphone built into it. In addition, built-in mics tend to pick up a lot of camera noise.

For a simple, easy to work with solution, try a small shotgun mic that fits into the camera's hotshoe and plugs into the camera's mic jack (your camera has to have such a jack). I use a Sennheiser MKE-400 microphone that gives great quality at a reasonable price and is compact enough to fit any camera bag. This video was shot with that mic and a Canon EOS 60D.

Courses are filling up for the 2nd annual California Photo Festival! Get your pass today by visiting www.CaliforniaPhotoFestival.com. Early bird pricing ends August 30th, save $50 off your pass!

Thursday, July 21, 2011

Set Specific Goals: A Tip from Rick Sammon

In photography (as well as in life, of course), it's very important to set goals. If you don't set goals, how do you know where you are going?

Here is an example of what I mean.

While teaching a private workshop in Mongolia, the student and I had the opportunity to get the shot that every horse photographer wants to get: a shot of the horse with all the hooves off the ground.

To get the shot, I told the student that we had to (and you can use these tips when photographing fast-moving subjects):

1) Set our Canon 5D cameras to the AI Servo focus mode - which tracks a moving subject right up until the moment of exposure.

2) Choose the rapid frame advance mode.

3) Compose the scene (using our Canon 100-400mm IS lenses) with lots of space around the subject – so no important parts were cut off.

4) Choose a shooting position where the light was just right.

5) Carefully watch the background so that the subject was completely isolated.

6) Take several series of images to ensure at least one good shot.

7) Use a shutter speed of at least 1/000th of a second to freeze the action.

8) Shoot with both eyes open - so we could see if something was coming into the frame that would ruin our pictures.

9) Check all our camera settings (ISO, Image Quality, white balance, etc.) to get the best possible in-camera exposure.

• • •

Setting the specific goal beforehand, and going through the motions of taking the shot in our hotel rooms, we became comfortable with the process. When we got on site, we practiced the process again and again - before the show.

All our practicing made getting the shot relatively easy - again, because we set a specific goal.


So . . . I told this story to my students while teaching a workshop at the Light Photographic Workshops in Los Osos, CA. The next day were were going to photograph horses running on the beach.

Guess what? They all set goals . . . and they all got the shot.

Set specific goals, and you'll have a better chance of getting the shots you envision in your mind's eye.

Explore the light,
Rick

Rick Sammon
www.RickSammon.info

Don't miss seeing Rick Sammon and 4 more Canon Explorers of Light at this year's California Photo Festival.
Early bird pricing ends August 30th! Register today at www.CaliforniaPhotoFest.com