Big movies mean big budgets, which usually mean big visual effects. The Moving Picture Company (better known as MPC) recently released another one of those mesmerizing VFX breakdown videos for their most recent feature film, “The Martian.” The breakdown reveals some aspects of the film and of Matt Damon's performance that were both challenging and impressive, like the fact that the helmets worn in the film didn't feature physical windscreens. Those were added later with matching reflections to the scenery.
In this tutorial, Aaron Nace from Phlearn takes a beautiful nighttime cityscape and shows you how you can create a custom brush to add your own stars to an image in Photoshop. Nace begins the tutorial by showing you how to make a custom brush in a new document. He continues to show you how to save the brush as a preset, use it on your image, and make adjustments that will change the amount and size of the stars you paint in. He goes further, showing how to add a nice glow to the stars and create a slight motion blur to make them look more realistic.
Computational photography is quickly becoming one of the leading threads for the future of our industry. Whether we realize it or not, it is already deeply integrated into our DSLRs and cameraphones in a supporting role, while other manufacturers have embraced it as the fundamental basis for equipment. Recently, I chatted with the team from Algolux about how they’re tackling some of the most relevant problems in photography to enable a future in which software and hardware work more in tandem than ever before.
Adobe launched a new YouTube series through their Lightroom channel to give Lightroom users some extra tips on features they may not have come across yet. While some highlighted features such as viewing masking for the sharpening tool are a little better known, others are more tucked away and might come as a surprise, like this feature that allows you to update the overall effect of a local adjustment with multiple sliders in effect.
When learning about retouching, selections and masks should be on top of the list along with curves and brushes. But each of these tools have so many options, and it is hard to know the in and out of each of them. In this article, I will guide you through different ways to create precise and refined luminosity masks to help you improve your retouching skills.
Over a year ago, after having discovered his work a year before that, I felt it necessary to introduce Fstoppers' readers to photographer K. R. Whitley, the world traveling wilderness/landscape and urbex artist. Since then, Whitley has traveled even more and expanded his work in some bold, new directions. I brazenly invited him to an interview at my house, and thankfully he agreed.
Color correction and grading are probably amongst the most difficult parts of a retouching workflow. What seems to make it difficult in Photoshop is usually the understanding of the different tools available, such as curves and levels. However, there are a couple of tricks that can make it much easier, color palettes and fill layers being some of them.
Beginners ask all the time on Facebook groups or in forums how to diminish their retouching time. The truth is, there aren't any magical technique to cut time, only tricks to help accelerate your workflow. There is one, in particular, to make your dodging and burning process more flawless and thus a bit faster by utilizing a Wacom tablet.
It is a common misconception, and it has been addressed before on photography groups, forums and news sites many times. However, for the new year starting today (2016, for those reading in the future), I reasoned a quick video review of the concept of file resolution versus pixel dimensions, and the interplay between them, would be in order.
Product photography is a great way to experiment with lighting and editing techniques. For me, it’s a chance to shoot in a relaxed environment where I have complete control over the subject, lighting, and camera. I can set up something small in the living room and find solutions that can be applied to my portrait work or professional product photography. It also requires a lot of creativity. Homemade items or DIY solutions are abundant on sets. From light-shaping tools to methods of creating parts of a composite, a lot can be created simply and at a low cost. You may be surprised to see how minimal of a setup can create some stunning photos.
Ever since the middle of high school, I've been immensely interested in "the process." You know, that middle bit between point A and point B that nobody but the artist ever sees. I've always loved peeking behind the scenes to see where something started and what kind of work and thought went into creating the finished product. To satisfy those of you who are just like me, here's the second post in my before/after series which not only shows you my images straight out of camera and the final product, but which uses each image to explain a bit more about what I do in post. If you want to dig in way further than these, I cover every step of my post processing in my Editing + Consistency class. Enjoy, friends!
Adobe released today the version 2.1 of Lightroom for mobile devices. It comes with a bunch of interesting new features making full use of the possibilities offered by iOS 9 and the iPad Pro. Some of the new features also could make one think that Adobe is becoming serious about making great apps for mobile devices.
MacPhun released Aurora HDR just a few weeks ago and touts it as the most advanced high dynamic range (HDR) software in the world. Certainly, veteran users of Photoshop and Lightroom might be skeptical. But if your sole purpose is to create HDR photos on the Mac, Aurora HDR might be the best option out there, seeing as it was created with the close consultation of HDR photographer Trey Ratcliff. In this video, Ratcliff dives deep in a first-hand look into how to get the most from Aurora HDR.