Italian photographer Filippo Blengini embarked on a mission to take a panoramic photograph of Mount Blanc, Earth's 11th tallest mountain. After 70,000 individual photographs, 46 terabytes consumed, and 2 months of editing and processing later, the photo taken by Blengini and his team of five is currently the largest photograph in the world. Check out this video for a brief overview of how they did it.
Flare has become a huge part of modern photography for how it can add both depth and excitement to an image. Many of us have resorted to manually creating lighting effects using Photoshop or by layering pre-made textures above our photos. Red Giant, however, looks to replace and augment this rather tedious process with Knoll Light Factory.
Our cameras today are extremely powerful with settings and features that help us archive stellar image quality. But sometimes the images we come home with just don't capture the true essence of what was photographed and what our eyes saw. The photo is just a bit overexposed or underexposed and doesn't capture what we felt in that moment we pressed down on the shutter button. We fiddle and tweak in Photoshop with sliders and brushes, but there is another tool to add to the arsenal: masks. Specifically, luminosity masks.
New technology from the University of Washington allows for millions of photos taken by different people over the duration of years and years to be sorted through, selected, and pieced together to create jaw-dropping time-lapse videos. Using photos from public databases, they were able to watch the progression and/or degradation of growing city skylines, receding glaciers, monuments, and more. Check out the video to see their amazing work!
Color lookup tables (also known as LUTs or 3DLUTs) have been a popular tool used by colorists in the video industry for a while and are just starting to find their way into photography. LUTs are a great alternative to actions or expensive plugins that can help speed up your editing workflow.
In this tutorial, Photoshop guru Aaron Nace of Phlearn.com shows you an easy yet effective way to take branding your images to another level. By placing logos or other branding elements into a scene's already existing spaces (such as billboards, truck trailers, or even clothing) you can really drive home the message you are trying to deliver. Follow Nace's simple step-by-step instructions to recreate this effect in your images.
Fstoppers.com owner Lee Morris recently decided to shave his 5 month beard while having a little fun. Lee created 8 different "characters" with different lengths of facial hair and then released his unretouched images to the Fstoppers.com. These photographers took these files and pushed them to the max, creating 8 hilarious final images.
During our 4 month project with Elia Locardi I didn't shave once. During this time my beard got a little out of control. Last week I had a little fun shaving it off slowly and creating portraits of myself as different characters. I'm now giving out the raw files to you, to abuse them as you see fit.
Watch as LA based photographer Dan Marker-Moore shows us how he stitches hundreds of photos together to make one Time Slice image. Dan travelled Hong Kong and Shanghai to shoot the same landscapes at different times of the day. This series of photos were then color corrected in Lightroom before a composite was created in After Effects. By lining up slices of the photographs, that had been offset in time / exposures, the photos create a sense of time-in-motion for each landscape.
A professional retoucher does so much more than just pushing pixels about. To say the least there is a lot of artistic interpretation, collaboration, technical understanding and skill involved. Then there are master retouchers like Becci Manson who go even deeper, show us the nonsuperficial side of the industry and help restore pride in a profession that has gotten a bad rap over the years. This video will give you some understanding of what it means to work as a high end retoucher but more importantly it will show you that, being a retoucher doesn’t mean you don’t have a conscience or something important to offer.
It's always a treat to find a Photoshop feature that you didn't know existed. I was recently introduced to the "render flame" filter in Photoshop CC 2014. Using fire in images or composites isn't anything new, but creating fire elements from scratch is. With this awesome feature, anyone can now create custom flames to be used alone or in coordination with other real fire elements and photographs.
What happens when one of the world’s foremost portrait photographers decides to turn to photograph still life paintings instead of people? There are no two ways about it - Jill Greenberg is fascinating. Her new work is beautiful, but there is also a clear artistic statement behind it. In this exclusive, we get to understand her direction and motivations behind "Paintings", her latest body of work.
When it comes to compositing, more often than not it's the little things that take an image from good to great. In this tutorial I show you how to pull off a simple yet very effective way to create those small embers and sparks that are all the rage in Hollywood action movie posters. Adding details like sparks, debris, fog, dust, etc. to your composites can change the overall mood of your composites and give them that epic feel you are looking for!
When a client came to me and asked if I could do a composite that featured a dragon, my first response was, "Of course, no problem. This is going to be so much fun!" Immediately following the conversation, reality set in and the haunting feeling that I had bitten off more than I could chew began to overwhelm me. After a momentary panic episode, I promptly began racking my brain on how I was going to pull off this impossible feat. Luckily in the end, creativity prevailed!