Whether it's photography or videography, we're always of the belief that we need that extra piece of gear to produce high quality and professional looking content. Be it a high-resolution camera to showcase detail, a rig for steady frames, or filters to deal with challenging light conditions, we're convinced that our vision can't be conveyed without a bag full of gear. While that may sometimes be true, this touching slow motion video shows just how much can be achieved with only a phone and a strong vision.
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Over the years, Capture One has evolved tremendously in its feature set, and has steadily become one of - or arguably the best - raw processor available. Despite all it's advantages and praises, many remain hesitant to adopt it, largely due to its seeming complexity and the intimidation factor associated with a truly professional tool. In this tutorial I'll be guiding you through the key aspects of Capture One version 12, and demonstrating that it's actually quite intuitive and straightforward to use.
Although there have been countless articles written on the subject of Frequency Separation - including several here on Fstoppers - the current state of retouching has me somewhat concerned about its use. Its widespread adoption, use and overuse has brought us to the point where frequency separation is fast becoming the number one culprit for poorly retouched and cringe worthy work. While I’m not convinced that we need to ban it outright, I do feel that the way we approach it needs to fundamentally change.
When it comes to the quantity of lights that one needs, opinions are often heavily polarized and a hotly contested debate often rages. There are those that are staunch supporters of one light while others claim that a handful of lights are needed before anything meaningful can be done. Ultimately neither group is right as there is no definable minimum or maximum number of lights that one should use.
When we hear about eye whitening our thoughts immediately turn to disturbing cases of retouching gone bad where subjects look more like dolls than humans. While YouTube is littered with videos on the subject, a good chunk of them take a brute force approach to the problem. They either crank up the luminosity or reduce the saturation; both of which will produce unnatural and sometimes frightening results.
When it comes to raw converters and photo library managers, our choice of products has recently become more limited with the demise of Apple’s Aperture. My impression in the past was that one’s choice is largely based on features and ease of use with little difference in image quality between them. That opinion was quickly changed when I started digging into Phase One’s Capture One Pro 7.
As the old adage goes, it’s not the gear, it’s the photographer that takes a good photo. While this is generally true, is there something to be said about $20,000 worth of Broncolor lighting gear? I mean a flash of light is a flash of light, right? Or is it?
From a retouching standpoint, there are few things more unpleasant or challenging than dealing with chunks of hair on the face, missing patches of skin texture and large folds of skin. Generally the existing tools in photoshop such as the healing brush or patch tool fail in these situations and we often end up with unnatural or unpolished results. When all else fails I often turn to a technique called texture grafting to deal with a multitude of issues.
For the longest time I viewed tethered capture as a nice-to-have reserved for high budget shoots and simply shyed away from it. I tried it a few times and after constantly being plagued with technical problems, I decided I'm better off sticking to my camera's LCD screen and didn't give it a second thought. Through my ignorance, little did I know how much I was actually losing out on and how much time I wasted in the process.
As a photographer, your average day most likely includes at least one blog, social media, or image post. Piggybacking on these posts with additional links is a great way to sell a product, promote a service or grow your following, but as with anything, there is a good, better and best way of doing things. Here are some tips that will help you to maximize the return on your daily posting efforts and generate more business.
So it goes without saying that there are a ton of different ways to match skin tones across your subject or between images in Photoshop so it's often just a matter of picking the option that is most convenient or intuitive. Despite the wide array of choices, I seldom see people use the selective color adjustment layer for this task. The beauty of selective color is that it allows us to go off the numbers rather than intuition and achieve an accurate result in little time.
With the recent announcement of the Profoto B2, Elinchrom's position in the ultra-portrable strobe pack market was somewhat overshadowed as the former exceeded the Elinchrom Quadra Hybrid in many aspects. Not to be outdone, Elinchrom has now announced the release of its next generation on-location pack and head kit known as the ELB 400.
If you’ve made the transition, or are planning on making the transition from photography as a hobby to photography as a job, you’ll invariably come to a point where you’ll just want to throw your hands in the air and give up. These bouts of self-doubt and frustration will likely occur many times and seem to appear not only during your lows but even at the highs. These feelings are normal, and it is those that rise above them time and again that end up successful.
In beauty and portrait retouching, one of the most important goals is to retain skin texture and keep the image from looking soft. We often however face a situation where the existing texture is unflattering and harsh. While we could heal out each pore or patch manually, this often leads to sub-par results and takes a long time. In this video I'll show you a unique, precise and fast way to target a particular texture frequency and offset it in a largely automated way.