We often tend to think of the best light for landscape photography as being during the golden hours, but depending on what you're trying to emphasize, different types of light and times of day can be better for your final image. This great video talks about the various types of light and how to orient yourself to take the best possible image.
With the new Adobe Photoshop CC 2018, a new image enlargement algorithm, “Preserve Details 2.0,” came as an improvement over the previous upsampling algorithm that had been in place since 2013. The 2.0 version provides better details when it comes to preparing the images for large-scaled prints and potentially reduces the need for an ultra-high-megapixel medium-format camera for large prints.
Stock photography is an industry that enables many photographers to make a good living. Though some photographers focus their entire career around creating stock imagery, almost every photographer has the ability to supplement their income with images they've already taken.
When you think of the sky in landscape photos, I bet you think of gorgeous sunsets full of luscious, vivid colors or puffy clouds floating over a blue backdrop, perfectly complementing the elements below. You probably don't think of drab, gray skies. Nonetheless, it's still possible to get great shots with less-than-stellar views above, and this video will show you how.
Understanding the internal light meter of my camera is one of the best skills I've ever learned. It helps me to shoot in fully manual mode, so that I rarely look at the back of my camera. Let me tell you how to get a correctly exposed picture from the first click just by using your camera's internal light meter.
This week, Colin Smith of PhotoshopCAFE explains how to make a watermark out of your signature in Photoshop using a real signature on paper. The signature can be captured via your cell phone camera without the help of a scanner. This solution is a good alternative from classic logo watermark. The process is really easy and takes less five minutes.
So how do you make that mountain appear as large to the viewer as it does to you? How do you get rid of noise in your nightscape images? And how can you get everything in perfect focus, front to back? This might as well be titled “5 Things you can’t do in one shot,” since each technique in this essay relies heavily on layering multiple exposures of a given landscape scene. I’ll show you the techniques I often use to translate my vision to the image. Let’s go.
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