Your client’s terminally-ill grandfather is the only one not smiling in the shots of the entire family. Do you liquify his facial features to make it look like he might be smiling? Do you transform a flat gray sky in your latest landscape to a dramatic sunny one? Where do you draw the line?
Photographers are constantly searching for ways to improve their imagery, and in this short video, landscape photographer James Popsys puts together five great tips (four plus a bonus tip) to help you think about your workflow and motivation, and how to avoid certain pitfalls.
If you’re a film aficionado, you’re probably used to trying to make the process of converting your negatives into print-ready digital files as painless as possible. One photographer has ditched his scanner in favor of an incredibly simple setup using his Fujifilm X-T3 and a rather unique Lightroom plugin.
Anyone with long hair is generally seen around town with hair ties worn as a bracelet. I keep many in my studio even to hold back wardrobe pieces that are not form fitting. While the best option is always to remember to have your client remove them before you start shooting, there is always that small chance you forget and it isn't seen until a few frames into the session.
Images shot after sunset, using natural light, can be among the trickiest to post-process properly. This guide provides a walkthrough of my post-processing steps for a recent night shot, and introduces a number of techniques I find essential for optimal night photos.
Everyone loves a soft, buttery bokeh to make their subject stand out against a busy background, but it's not always possible to make it in camera. Maybe the lighting conditions or physical environment don't cooperate, or perhaps you just haven't shelled out for that superfast f/1.4 prime yet. But all is not lost thanks to the magic of Photoshop.
If you've ever used luminosity masks, you know how perfect they can be for creating specific looks, effects and styles, and are also hugely purposeful for specific utility processes in your workflow. There are many ways to go about creating luminosity masks, but have you considered simply using the Gradient Map adjustment layer for this?