Dodging and burning remains one of the most classic and powerful techniques to shape the light in your photos and emphasize your subject in a straightforward and natural way. This quick and helpful tutorial will show you an easy way to dodge and burn your images using Photoshop.
The Sigma 40mm f/1.4 Art is such a ridiculous lens. Whenever I've thought about 40mm lenses I thought about the Canon EF 40mm f/2.8 pancake lens. I'm sure many of us have owned one of these lenses; it's actually pretty good. The tiny form factor, relatively fast autofocus speeds, and great image quality. Obviously, this lens was just too small for Sigma.
Back in October I posted a portrait of myself that quickly became the most popular photo on my entire Facebook feed for 2015. The image was never meant to be anything other than a test shot for a few lenses we were reviewing but people kept asking how I created it. In this Fstoppers video, I will show you a common lighting setup every photographer should know and how you too can achieve this simple look with your clients.
There is an innumerable amount of articles and tutorials teaching parts and pieces of retouching portraits. However, finding the ones with quality techniques and information can take days. Furthermore, there is no singular tutorial that teaches a complete set of methods to retouch portraits free of charge. Finding the right tutorials for each aspect of editing can become very time consuming. This article contains 5 years of research for achieving the greatest methods to retouch a portrait.
Wedding photographers often tell me how annoying it can be to get a consistent white balance across the images of the day. Shooting weddings almost every weekend during the summer myself, I used to have that problem as well. With a white dress for the bride and a white shirt for the groom, it should be easy though. The problem is I like my images to make my couple look good. Meaning I like having the same skin color and tone on every picture. During the day, their skin might change color a bit because of the sun, the emotions, and the alcohol. Switching to Capture One this year I found the perfect solution to avoid this issue: setting my white balance based on skin tones and not on a gray card anymore.
You have probably heard it a few times: photographers raving about how Capture One is awesome for developing portraits from raw files. However, just like when I first installed it, you might not see any advantage over the current raw processor you are using. Then I found a few functionalities that made my workflow that much quicker and my images look a tad better before even retouching them in Photoshop.
When retouching, it is not rare to come across color problems on a model’s skin. Whether it is from a sun tan, dodge & burn, spots or skin discoloration issues, it can be really painful to treat it in post. Despite being all about having it right in camera and doing as little as possible in post, there is an easy way to correct this in Photoshop -- a method that is going to make your makeup artist want to stop correcting redness, yellowness or under-eye bags. It is so easy to use you are going to wonder why you did not think of it earlier!
I can assure you that this isn't another boring tutorial on how not to overdo eyes with Photoshop. Searching for the perfect method has come to an end. Before diving into the simple method, it’s crucial to understand everything about the human eye and how it reacts to light.
If there is one thing I get asked, and that has been answered online time and again, it's "How do I get my photos to look like I want them to look on Facebook?" followed immediately by "Why does Facebook ruin my photos anyway?" and finally "I just want my photos to look awesome on Facebook." The bottom line is, Facebook does give us options, loopholes if you like, and we just need to adhere to them and our images will look stellar. But, what are these magical settings? I decided I was going to fuse my two careers together into one article, and explain it all as best I can.
When I began photography I didn’t understand the importance of lighting and the difference makeup has on an image. Looking back, if I would have first understood and attempted to master the techniques behind makeup, I would have understood the proper way to light my subjects when photographing them.
This is the third part of The Ultimate Guide to the Dodge & Burn Technique. Check out Part 1 and Part 2 where we talked about the fundamentals and tools. Today we finally get to one of the actual setup variations for the Dodge & Burn technique in Photoshop. But before we begin, I'd like to share a few words of caution with you.
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.
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.
Sharpening is a mystery to many, some do it well and others don't. There are quite a few methods to sharpen an image including the use of a High Pass Filter, Unsharp Mask, Smart Sharpen and Camera Shake Removal in Adobe Photoshop CC. However, it’s similar to hearing nails on a chalkboard when I see an image that is over sharpened. I'm no saint, I'm certainly guilty of cranking Unsharp Mask, I just never found the right solution. Until now.
When retouching in Photoshop, there are many different ways to achieve the same thing. Personally, I've always struggled to find the best method to remove shadows under the eyes. Like everything else in Photoshop, there are a slew of methods to correct this, but each of them had their weaknesses. Check out this simple - yet slightly hidden - method that you probably never knew existed.
Chances are you have already learned what Frequency Separation (FS) technique is, as it became mainstream in the past few years. However, many FS technique users actually know very little theory behind it, thus have little control over its implementation. I've set out to research and collect all the important and useful information about it, so we can together learn how to become better at it.
This is the second part of the article on how to learn to "read" lighting in photography. If you haven't read the first part yet, please start here: How To "Read" Light In Photography - Part 1.
And for those of you who have been waiting for the second part, let's jump right back in and see what other cues we can use to breakdown lighting in other photographers' work.
One of the first very important skills I acquired in my Australian Photography course was the ability to breakdown lighting and determine approximate camera settings in images taken by other photographers. If you understand how the direction of light and its degree of diffusion are controlled and how they affect images, it should be easy for you to train yourself to "read" lighting in the images you see in magazines, on billboards and in your favorite photographers’ portfolios.
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