I can’t tell you how many times I get comments like “Wow this is so cool; it almost looks like a painting!” Not that I’m complaining about that whatsoever; I take it as a compliment. It’s one of my goals when creating a work of art – to make something that isn’t quite a photo, but isn’t quite a painting. “Yes, but how do you make it look like that!?” Well, since you asked I guess I could explain some of the process. Obviously a LOT goes into making my images look the way they do. Fancy studio lighting and a hefty amount of digital painting play large roles, but one technique that really pushes my work towards that sort of hyper-real-digital-illustration-y-type-look is the use of the “Shadows/Highlights” adjustment.
As you probably know, I am a bit obsessed with colors lately. While I was obsessively looking around and searching and asking people until they didn’t answer my requests anymore, something popped up and I have to share it because it’s simple and brilliant:
Color Grading using luminosity masks.
Zoë Noble just released a 10-minutes tutorial on Youtube, explaining the process on a very nice beauty-image.
If you want sharp black and white images with fine grain, then you are on the right page my friend!
I’m a bit of a freak in terms of image quality and I love very detailed photos. That’s why I’ve been searching for a good combination of film and developer to obtain the best results. The technique I’m about to share is not for every situation and ideally, you will need either a decent amount of light or a tripod.
Do you like photos with tilt-shift effect? If you do, then you know there are plenty of ways to make them. You can either buy a tilt shift lens or make one on your own. And if you prefer doing it in post-processing, Photoshop and Lightroom will be your allies. This tutorial from Scott Kelby teaches you to fake tilt-shift effect in Lightroom in no time.
I wanted to write you a letter on the art of street photography, based on my personal experiences, my personal passion, and things I’ve learned along the way
I’ve been working on 4K for the last year, and as such, I have to zoom in quite considerably more than resolutions such as 1080 and 1440 to get to the same level of “zoomed in” view. This extreme zoom-in adds a grid to the view. As a photographer and a retoucher, it can make life very difficult if you’re not aware that you can turn this grid off.
Filmmaking involves a whole lot of knowledge, and if you ask me – filmmakers also use some magic to achieve certain results. Sometimes they use special effects, but on a number of occasions clever filming and lighting are just enough. Ryan Connolly from Film Riot brings you five tricks every filmmaker should know. They are simple, yet very clever ways to achieve great results with minimal investment and post-production.
If you are new to film photography, chances are that you will get into shooting black and white sooner or later because you have been inspired by the masterpieces of our great geniuses. But before you become the next Henri Cartier-Bresson or Sebastião Salgado there are a few things you should know.
Seeing the world in Black and White is the main struggle for everyone at the beginning but like with everything else, it can be learned and practiced with a simple understanding of how colors are translated into BW. The human eye can distinguish approximately 500 shades of gray (some are limited to 50 but that’s another story!), on the other hand, the scope of colors is almost unlimited.
There’s plenty of great applications and plugins out there that will help you reduce noise in your images. Some are standalone apps while others are plugins. But there’s a lot you can do straight from within Adobe Camera Raw (ACR) and Lightroom without all that.
This video from Blake Rudis at F64 Academy talks us through the noise reduction features in ACR. As it uses the same raw engine as Lightroom, the same settings and techniques work the same way there, too. So, if you haven’t really dived into it before, or you’re relying on 3rd party apps, here’s how it all works.
When it comes to setting up flash for a portrait, one might usually grab a big octabox or beauty dish. Normally, we wouldn’t consider something like a strip softbox. Strip softboxes are typically relegated to rim light duties. But they can also be extremely effective as a main light source.
In this Profoto Tiny Talk, photographer Neil van Niekerk talks us through how he uses his gridded strip softboxes for lighting portraits. He describes it as the most powerful tool he has both on location and in the studio. And, indeed, it is an extremely versatile modifier.