5 ways to stop being a luck photographer {and start taking pictures on purpose} 10 Techniques for Amazing Portraits. Layer Masking Tips. Monday, November 11, 2013 By William Sawalich I started working with Photoshop way back in the early '90s, so I remember a time when Photoshop lacked what today I consider its most powerful tool: layer masking. I worked for years without masks, and for a long time I considered my workaround methods a suitable stand-in. I was wrong. Layer masking is an incredibly powerful tool that provides unparalleled image editing control.
Once you've got an image comprised of a background and at least one layer, you're able to employ layer masks. By default, this method creates a mask that is clear, represented by a fully white mask icon adjacent to the active layer's thumbnail in the layers palette. Selections are crucial when working with masks, and they can be made after the mask's creation, or before.
The thing to remember about a layer mask is the fundamental basic that black makes the mask clear, showing through to the layer beneath. Do you ever work with adjustment layers? Add Comment. Create Sketches to Capture with a Vision. The Unwritten Rules of Facebook for Creatives. Do you ever come across someone and think “what were they thinking, why would they even do that?” Well, I will bet money you’ve scrolled through your newsfeed or Facebook groups and said this at least once.
There are three main sections you should probably pay close attention to while using Facebook. 1. Friendships: One of the things that receives the most complaints on Facebook is page invites. Statistics fly around bashing the option to invite people to like your page. If you try to add someone and they accept your friend request, most likely they either know you and your work, or they went through your profile and thought you had enough mutual friends to add you.
This means that if they saw your info section upon doing their stalking, they most likely went to your page and looked at your work. 2. 3. I am a straight shooter, I’ll tell it like it is and if you like it, you like it, if you don’t, I’m sure you’ll complain about it in the comments. Related. 10 Questions to Ask When Taking a Digital Photo. Focus Your Attention. A couple weeks ago, fellow Fstoppers writer Peter House wrote an article on focusing your work. I got excited at the possibilities of him giving tough love on the photography community as a whole. This article however, while exceptional, was centered on focusing your business efforts to grow to new clients. I’m here to do it a little different, and going to tell you what you’re doing wrong and why you need to stop. Everyday, we’re flooded with Facebook groups such as “Photographer Problems” and other private outlets for photographers to complain about bad clients, being suckered into working for peanuts, and tedious retouching requests.
We’re hit with reminders that not all clients are created equal, and that sometimes work can be a chore; and sometimes find ourselves complaining about how tough our work can be. Stop that. You’re a photographer, do you realize the luxury of that? Sure, not all of my work is easy work, but I don’t want it to be either. Adjust Your Expectations - Related. The One Modifier I Always Travel With.
There is one lighting modifier that I never leave home without. Its compact size and light-weight build has earned it a permanent place in the outside pocket of my gear bag. I made this modifier about 4 years ago and have brought it to every food shoot since. If you are shooting food, it is a must have and it won’t break the bank to make it. What is it you wonder? It is a collapsible Tabletop V Reflector.
For your Tabletop V Reflector you will need two pieces of foam board cut to an equal size. Step 1: Have your two equally sized pieces of white foam board and duct tape ready. Here is the final product! Taping the two sides together creates a hinged joint. For extra durability, you can cover the exterior of your reflector in gaffers tape. The white foam board material provides a soft fill for your subjects. For more food photography tips and tricks, check out Issues 1-8 of photographing FOOD. Related A Countertop Lighting Setup In "Food" 10 General Items to Keep in Your Gear Bag In "DIY"
2013 Popular Photography Readers Photo Contest. The Guide To Pricing Commercial Photography Part 2: Production Costs. The Guide To Pricing Commercial Photography Part 2: Production Costs Welcome back to our series on pricing your commercial photography. A few weeks ago we released Part 1 of the series which explored the benefits and pitfalls of working for free. As we explored the topic it became evident that working for free has its place but in order to create a sustainable and professional industry we must educate our community on the importance of properly pricing their work. Thus in Part 2 we will begin by showing you my personal approach to laying out a commercial invoice and the thought process behind the layout.
This is a layout I have developed over the years and it has been well received by clients because it is easy to understand and navigate. For our purposes we need a client. First, let’s take a look at what my invoices look like. There you have it. As you can see I have my invoice split into three categories. What Are Production Charges? Transparency & Itemization Related In "Business" The Future of Optics Could Change Significantly. 10 Fool-Proof Posing Tips for Group Portraits | Improve PhotographyImprove Photography. Looking through the Improve Photography facebook fan page, the most common question is how to pose people for group portraits. I think the reason that many of the members of our community are nervous about this taking this type of photo. Fortunately, group portrait photography of a family or other group is not overly difficult as long as you know a few steps to take in order to get a great photo. The rows of heads in this photo don’t look too bad, but breaking up the pattern would make them feel more like a tight group.
Tip #1: Get the heads on different levels This posing tip is first for a reason. It is probably the easiest way to dramatically improve your compositions for group photography. Tip #2: Make sure no one is covered up Pretty simple, but it can ruin even the best poses if someone’s face is covered. Composition? Tip #3: Let the group unfold naturally (AKA “Have fun!”) Formal group photos are tough to pose because people will not remain still. Tip #5: Rip that shutter! The Photography Tips that 96 Photographers Wish They Would Have Learned SoonerImprove Photography. Two weeks ago (I know, I’m slow…) on the Improve Photography Facebook fan page, I asked our community what photography tips they wish they would have learned sooner. I was looking for lessons that many photographers procrastinate learning and it ends up keeping them back from progressing as photographers.
Over 96 photographers commented on that facebook comment with their hard earned lessons, and I grabbed the most popular lessons from the group to share here. I hope that this article teaches you many ways to save yourself from making rookie mistakes (like I still seem to do every day!). Lesson #1: Envision, plan, and then create There is nothing–at all-wrong with looking at great photography to get creative inspiration.
Lesson #2: The histogram is NOT optional Spending just 5 or 10 minutes to learn how to use the histogram can make a huge difference in your photography. This photo would be pretty dull without great off-camera lighting... Lesson #4: Learn to change the active focus point. The Photography Tips that 96 Photographers Wish They Would Have Learned SoonerImprove Photography. You are my wild. The Role of the Picture Editor. Georgia O’Keeffe holds her favorite stone from her rock collection. Abiquiu, New Mexico. 1966. She confessed that she stole the stone. © John Loengard. It is not important if photographs are “good.” It’s important that they are interesting.
What makes a photograph interesting? Nothing is more important than the trust of photographers. You are the photographers’ advocate. Smooth the way for the photographer. You should back photographers’ good ideas with conviction and shield them from misguided suggestions: Often, something that sounds intelligent doesn’t look good in photographs. Other editors, with the story’s text in hand, may judge photographs by what they have read.
A good subject for one photographer may not be good for another. You must spot young talent and encourage it, giving these tyros more than occasional assignments. Treat all photographers equally—those with whom you become close friends as well as those with whom you do not. Text editors do their work after the fact.
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