Nela König: Beauty Shooting for Shan Rahimkhan
Jun 2012 26

Shan and I have been friends for years and often enjoy working together. The beauty photo series we planned uses the Punk as its topic. I wanted the theme not only to be visible in the hairstyle and make-up, but also in the picture itself. To create the desired mood I chose a white wall as a background, so I could generate blue shadows on it and at the same time give the model’s skin a natural look. As a first step I tried out different blue filters on my assistant and my stylist.

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CD Tobie: Image Editing for the iPad Takes Off
Jul 2012 17

Image editing applications for the iPad and iPhone have been gaining ground over time. But until recently, the top editors were from third party developers such as NIK; whose SnapSeed App won Apple’s “Best App for the iPad” last year. Recently the big names have released advanced image editors for iOS, so its time to take stock of how these Apps measure up, and what they have to offer.

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C. David Tobie: Saturation Intent Fix for Printing From Lightroom
Jul 2012 26

Adobe’s Lightroom application is becoming more and more popular for printing images. Over time Lightroom has added a variety of printing options, such as print templates and saved print setups, so that it is now a more convenient location for many types of prints than Photoshop.

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David Cardinal: Taming Color in Wildlife Photography
Aug 2012 14

Most articles on color management focus on the issues of reproducing product colors or skintones. But studio and portrait photographers aren’t the only ones who face color management issues. Even though wildlife doesn’t come with a set of Pantone chips that need to be matched, accurate color management and a full color-aware workflow is essential to creating the best possible wildlife and nature images.

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CD Tobie: Directions for Using the SpyderCUBE with Lightroom 4, Photoshop CS6 & Camera Raw 7.1
Aug 2012 28

Lightroom 4, Photoshop CS6, and Adobe Camera Raw 7.1 use Process 2012 introducing improved adjustment controls which require a new method of adjusting images when using SpyderCUBE.

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David Cardinal: A Photographers’ Survival Guide to Color Spaces
Sep 2012 20

Have you ever put a lot of work into getting an image just right and then sent it off to a friend or an editor and had them say it looked washed out? Or have you taken a perfectly good-looking image and sent it off to a service bureau only to get back a print that looked like mud? Or maybe you thought you’d tweaked out the ultimate in detail from a subtle sky and had your prints look posterized? If you’ve had any of these problems, or just wish you knew how to set up color spaces in your workflow, this article provides a survival guide to help.

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C. David Tobie: The Changing Role of Adobe Photoshop
Oct 2012 23

Photoshop: once the be-all and end-all of digital imaging; but no longer. There have always been Photoshop competitors, but none ever had the feature set, or the market reach, to seriously compete with Adobe’s flagship image editing application. But what competition alone could not alter, is changing over time, with other shifts in the industry.

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David Cardinal: Protecting Your Images Online
Nov 2012 27

One of the best things about all the great cameras and photo tools we have access to is the excellent images we can share online. Whether it is Facebook, Pinterest, Flickr, Picasa, or a personal website, almost every photo sharing service supports high-quality images. If you combine image quality with a proper color-managed workflow, your online photos can be awesome.

Unfortunately that also means your images are ripe for theft. If you are a professional that’s a business issue, but even if you are only sharing images for fun you probably want proper credit when they are used. Depending on how concerned you are, there are a variety of techniques and tools you can use to protect your images.

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David Saffir: Selective Sharpening Technique for Portraits
Jan 2013 22

Sharpening images can be a challenging task. One of the issues involved is the choice between sharpening the entire image, or sharpening only the detailed areas that will really add to image quality.

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Seán Duggan: Blending Modes for Compositing: Multiply & Screen
Feb 2013 19

The blending modes in Adobe Photoshop offer countless possibilities for creatively transforming your photos, as well as providing practical solutions to some real world imaging problems that may crop up from time to time. In the 2nd edition of Photoshop Masking & Compositing, which I co-authored with Katrin Eismann & James Porto (Peachpit Press, 2012), we cover the blending modes and how they can be used for creative effects when making collages. There are 26 blending modes available in the Layers panel in Photoshop CS6, some more useful than others. In this article I want to focus on two of the blending modes that can be very useful for creating multiple image composites: Multiply and Screen.

The key to using Multiply and Screen, as well as several other blend modes, is that each of these blending modes has a neutral color, a color that is “invisible” to the blending mode, and therefore hidden in the final result. Knowing what a blend mode’s neutral color is, and creating layers to take advantage of this, allow for quick and simple composites. Let’s take a look at some examples.

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