Straightening your photos sounds like a simple task. But if you’ve ever tried doing it, you know that it isn’t always the case to get it done perfectly. I know it’s something I’ve struggled with when editing some of my images. If you’re anything like me, here’s a super-useful video from Demas Rusli. He’ll show you two simple methods for straightening your photos and nailing it every time.
Applying a cinematic effect to your nighttime city photos is a popular way to turn them from snapshots into something special, like in the examples of Masashi Wakui. I’ve been following his work for years, and finally wanted to try and figure out how this effect is done, without using any plugins in Lightroom and Photoshop. The key parts of this technique are the crushed blacks, the glow in the highlights, and the colour toning.
In this tutorial, you will learn how to recreate this effect by hand in Lightroom and Photoshop, adding a cinematic look to the photo below. The basis of this technique is to use an extreme white balance that is then recovered by split-toning.
Photoshop is full of tricks and shortcuts. If you ask me, this is one of its beauties, as there’s always something new to discover that will help you speed up your workflow. In this video, Nathaniel Dodson of Tutvid gives you 25 handy Photoshop tips and tricks in only 20 minutes. They’ll help your editing become faster and more efficient, and these are the tricks every photographer should know. Are you familiar with all of these?
When you’re creating HDR images, chances are you’ll get those annoying halos in them. They look very unnatural, but there’s a pretty simple way to fix them. In this video, Unmesh Dinda of PiXimperfect will show you how to get rid of those halos in just a few minutes and make your HDR photos look more natural.
Whatever you do in Photoshop, chances are there are a few ways to do it. The same goes for zooming in and out when you need to work on details of an image. In this video from Photoshop Training Channel, Jesús Ramirez shows you a quick and simple trick for zooming in that you may not have discovered yet.
Shooting directly into the sun whether it is sunrise or sunset often results in that some areas around the sun are clipped and we get these rather harsh edges in our sky. Even when shooting bracketed or underexposing for the highlights we may not achieve a pleasing result around the strongest light in a scene.
For all those who are reading the title of this article and thinking to themselves, “What the crap is Cyberpunk?” … Well, according to the dictionary it is, “A genre of science fiction set in a lawless subculture of an oppressive society dominated by computer technology.” Just think “Blade Runner” and you’ve got the gist of it. As much as I love (and will obviously always love) to create stereotypical fantasy art, I’ve recently been super inspired to create artwork that leans on Cyberpunk themes. What’s not to love about neon lights, shiny leather, sunglasses at night, glowing technology, and in-your-face vibrant colors popping out of the dark moodiness of a dystopian futuristic city!?
Shooting with a shallow depth of field has become so popular in the last few years that it’s almost become a cliché. But it remains something that’s very much in demand. Fast f/1.4 and f/1.2 lenses can be extremely expensive, though, and so very difficult for people to achieve with their f/slow-slower kit lenses, especially if working with APS-C or Micro Four Thirds sensors.
In this video, Unmesh Dinda from PiXImperfect shows us a way to simulate shallow depth of field in Photoshop using the Iris Blur filter on a smart object, with a neat tip to offer a lot more control over the Iris Blur filter than you might’ve realised it offered.
To shoot directly into the sun is both challenging and fun. Challenging because it can be difficult to control the light and, not least, our images are very often marred by sunflare. One simple way of avoiding flare is to shoot an extra exposure with one finger or more obscuring the sun.
Admittedly, it happens that I forget to follow that simple step, or I am too lazy or I believe that clouds or mist sufficiently diffuse the light so that the lens won’t produce any flare. In the example below I believed that mist would prevent any flare. I was wrong something which became very evident when examining the raw file in Lightroom.