Something I get asked often is how to add color tones to your images. Often the easiest option is to use filters either in Lightroom or with a plugin software such as Google Nik. However, as you delve deeper into the world of color grading you will eventually become curious how to create your own effects.
I have had the blessing and curse of having too many photos to edit in the past few months. I've had plenty of opportunities to improve my work with the high frequency of shoots, but it's caused me to feel buried. During a typical shoot, I'll take between 250-400 photos. With each light setup, I'll take a few shots to ensure it's just how I want it, then I'll start directing my model. I strive for 3-4 solid shots per setup, one of which will end up being the final image. Both myself and my hard drives are feeling the pressure. In order to make sure that everyone gets their photos in a reasonable timeframe, I've adopted a new workflow for my editing.
For many filmmakers who are getting into raw workflows for the first time, or perhaps wanting to up their postproduction skill set, color grading can at first appear to be a big, scary monster full of weird tools and a puzzling workflow that makes college physics seem simple. In this Q&A video from Film Riot, Colorist John Carrington answers some frequently asked questions regarding his approach and process to doing color work on video footage.
Luminar is Macphun’s latest editing platform, and it’s the company’s first try at an all-in-one solution that can go head-to-head with Adobe Lightroom and Apple’s discontinued Aperture programs. Still in beta, Luminar recently received an update that helped improve speed and fixed over 300 small bugs, making it nearly ready for its public release on November 17. So, how does it hold up to platforms such as Lightroom?
Fstoppers is bringing it back to the basics with our latest project, Photography 101: How to Use Your Digital Camera and Edit Photos in Photoshop. If you're just getting started in your photography career or simply want to learn how to take better pictures, this tutorial will teach you the fundamentals that bridge the gap into any genre of photography. This tutorial also offers ground up training in how to successfully use Photoshop to improve your images dramatically.
Color management is probably amongst the hardest things there is to understand and learn when it comes to retouching and photography. So many elements are to be taken into account to create the perfect final print that it can be extremely complicated and time-consuming. Part of that process is to have a raw converter software able to match your vision and your needs. Capture One is known for its modularity and customizable features. Let’s see how we can use it to help us get the colors we want out of all our raw files.
Short version of the story: I love issuing challenges to the awesome readers of Fstoppers, but I also have this wild schedule of mine that changes at a moment's notice this year. So, without wasting more of your time, I'll just say "my bad" and get right to the Capture One Pro EIP Challenge winner.
Creating an image that appears “sharp” is something I struggled with for a LONG time. I read countless articles on the topic and invested heavily in gear thinking that was the cure. While gear can certainly help, I believe there are a few key areas to focus on in order to create images that are tack sharp.
Affinity Photo was released over a year ago on Mac OS X. Its success on the App Store definitely shows how great the software truly is. It is also proof that people are looking at different options than the traditional Adobe workflow. Until now, one thing refrained many: Affinity Photo was available only on the Apple platform. But today is a new day and the software is now Windows compatible.
Last week, we covered my all-time favorite tip for creating expressive children’s portraits outdoors this fall. As a follow-up, in this short video, Photoshop master Aaron Nace from Phlearn takes us through simple techniques for editing photos of children in Photoshop. His advice centers on drawing the focus to the eyes and face by adding a vignette, enhancing eyes, and warming skin tones.
We've all attempted multiple exposures. We do it when we want to create a specific feeling when shooting portraits, and we do it when we want to expose correctly for an architectural photograph client, to correct in post. We use a tripod, to make sure the images are identical, and we either use the camera's automatic stop metering to compensate and expose all the needed information correctly. And then Grant Legassick goes and changes the way I always considered multiple exposures and how they can be used.
With the advancement and affordability of video technology available to consumers now, the number of budding and aspiring film and video makers has seemingly raised exponentially. One of those advancements has most definitely been in regards to how the color correction process is handled. There's certainly no one path to success sort of idea with this either, but there are some things that you can do to help simplify and organize your process in order to work quicker and more efficiently.
Capture One doesn’t need to be introduced anymore. It’s Phase One's professional raw converter, and it has grown into a very compelling Lightroom alternative over the past few years. The software is meant to develop raw files, but it can do much more. Its usage doesn’t have to stop at simple exposure and contrast tweaks. Let’s see how we can unleash its full potential and, as Phase One likes to phrase it, experience the ultimate image quality.
Have you ever wondered what that obscure tab called “Channels” in Photoshop does? You know, the one with black and white layers of your photograph that are anything but red, blue, or green? Turns out they do some pretty amazing things and aren’t really that hard to understand once you get familiar with them.