In photography - and in anything else, really - it seems as though when we first discover something new, whether it be a new camera, a new technique, and/or a new system of doing things, it’s fairly natural I think to want to use it all the time. When I first “discovered” photography, I immediately gravitated toward those photographers like Emily Soto, Zach Arias, Joey L, and Syl Arena.
In beauty and portrait retouching, one of the most important goals is to retain skin texture and keep the image from looking soft. We often however face a situation where the existing texture is unflattering and harsh. While we could heal out each pore or patch manually, this often leads to sub-par results and takes a long time. In this video I'll show you a unique, precise and fast way to target a particular texture frequency and offset it in a largely automated way.
This is the second part of The Ultimate Guide to the Dodge & Burn Technique. Check out Part 1, where I covered the fundamentals of light and shadow rendering in painting here.
So, now that we understand that the shadows and highlights are what makes our 2-dimensional pictures appear to have more volume and dimensions, let's move on to the technical side of the Dodge & Burn implementation in retouching.
I've been using Photoshop since 1998 and if there was one thing that I've learned, it's that their slogan should be, "There is more than one way to skin a cat." We've seen a lot of videos on how to change the color of things using PS, each with their own strengths and weaknesses. This one from Aaron Nace, of Phlearn, is quick, easy and you should add it to your arsenal.
Dodge & Burn (D&B) is a technique that came to us from the darkroom days when luminosity values in a photo could be only manipulated by the duration of the exposure of the light sensitive photographic paper. And while there’s so much that have already been published about it, I hope we can still shed some light on the aspects of it that are usually not mentioned in retouching tutorials.
In other this-is-why-I-love-the-internet news, at a cycling race last month, a photographer was seen laying in the way of the racers (check out their expressions). Naturally, the incredibly imaginative fine folks at Reddit photoshop battles were kind enough to make several beautiful creations featuring our out-of-place 'tog.
Photography-related groups on Facebook are growing exponentially along with the exploding industry. As with many things in life, there are pros and cons when participating in these groups. One can experience valuable feedback, expertise and positive reinforcement from peers, while also experiencing nitpickers and people who pull you down. There are far more important elements often missed when discussing groups that could change the way you benefit from them... forever.
From time to time, we show of some behind the scenes videos of popular movies and TV shows that highlight the hard work done behind the camera to make the stories come alive. However, rarely do we get to see a side by side comparison of a visual effect heavy movie such as Final Destination 5, showing us all the hard work that is done to seamlessly create exciting moments on a budget.
Photographer Sam Hurd is sharing yet another one of his artistic photography techniques with his followers. He mastered The Brenizer Method, he basically had all of Amazon on backorder for Prisming, he ripped the lens mount right off his 50mm for Freelensing, and then he did some convex Lens Chimping. This time around, Sam attached an old anamorphic movie lens to his 85mm in order to shoot a very cinematic wide field of view. Take a look at how it works!
This truly incredible image was produced by Lightfarm Studios and was composited over a 5 week period "by seamlessly matte painting over 100 aerial pictures of giant proportions." This original artwork piece was inspired by the book “Rendezvous with Rama” by Arthur C. Clarke and the end product is nothing short of a masterpiece.
Wired's Design FX has given us a great behind the scenes video of everything that was involved in the updated Helicarrier crash scene for Captain America: The Winter Soldier. The sheer scale of the project is astounding as FXGuide.com's Mike Seymour and ILM's Digital Models Supervisor Bruce Holcomb take us through the design of the crash and its scale to the actors on the green screen.
I've reviewed BlogStomp in the past, and decided it was a tool that all photographers should be using to create simple and beautiful collages. Announced today from the same team is AlbumStomp, containing all the features you've come to love from BlogStomp, but for the use of creating brilliantly beautiful and simple photo albums for your clients.
Back in July, I reviewed Alien Skin Exposure 5, and decided it was one of the best Photoshop plugins for photographers to date. With its gorgeous film presets and full customization of every tool imaginable, Alien Skin seemed to be miles ahead of the competition, making a system that works well for both the beginner and seasoned pro. This morning, Alien Skin announced the followup to their flagship plugin, with Exposure 6.
Most of the readers of this site I’d wager fall into the category of content creators, not content consumers. That being the case, rants about not being properly compensated for the hard work put in to producing images comes up every so often. But have you ever been on the other side of that situation?