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Contents LETTER FROM KEN
POST-PROCESSING ARTICLE OF THE MONTH Making Selections Based on Edges
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CAMERA SETUP: MENU ITEMS TO PAY ATTENTION TO
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FEATURED PHOTOGRAPHER(S) OF THE MONTH 2017 Venice Carnival Workshop Participants
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THE STORY BEHIND THE PICTURE
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PHOTO TOURS AND WORKSHOPS
p 16
SEEKING OUT GREAT SUBJECTS
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LINKS TO PREVIOUS ISSUES OF INSPIRATIONAL PHOTOGRAPHY
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Cover Photo: Rialto Beach, Pacific Northwest U.S. 2
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Letter From Ken Put the Camera Down
I have been very fortunate to have been able to photograph in some beautiful places. Shooting the Northern Lights in Norway this past February was a real highlight. I was on a beach watching the Aurora begin its appearance. Within 20 minutes, it really lit up the sky. For you night photographers, during the brightest part of the show, I was shooting at ISO 800, f/2.8 and just 4 seconds. Any more than that and the highlights of the Aurora were blowing out. If you have shot at night before, you will realize from these settings that this was quite a show. Now, when I travel, I am really all about the pictures. I show up with camera in hand and start looking around for compositions right away. However, while photographing the Aurora that evening, I had to take my hands off the camera and just watch in awe for a moment. I remember just staring at the lights and saying “wow” over and over. Of course, then I went back to rapid fire shooting so I wouldn’t miss the shot. That moment of just looking at the lights in the sky was really a highlight of the trip for me. I’ve since resolved to spend a little more time better appreciating my surroundings, letting a couple of shots go if necessary. It is not that I haven’t appreciated my surroundings before. However, stopping and forgetting about the camera for a moment was a good exercise for me. If you aren’t in the habit of taking a quick break from photographing and having a look around just to appreciate your surroundings, give it a try! Thanks for reading! Ken Koskela http://www.kenkoskela.com To receive this magazine FREE each month click HERE 3
Making Selections Based on Edges Post-Processing Article of the Month
The ability to make adjustments and modifications to only PART of an image is what gives Photoshop much of its power. If you are intermediate or advanced in Photoshop, then probably half of the time you spend in it involves trying to isolate parts of your image for some type of local change.
3. A selection based on color. For example, you might want to target a selection to the green grass in a landscape image or some reds that appear throughout an image.
Selections can be a pain to do at times. There is no getting around that. But, knowing the right selection tool or method to accomplish the task can save you countless hours.
4. A selection based on luminosity. You might want to target your adjustment to the brightest parts of the sky or the darkest shadows in the frame.
In this article, I’ll provide an overview of the types of selections you might want to make and then the best tools within Photoshop to make for ONE of those types.. selections based on edges. I’ll cover other selection tools and methods in future articles.
These criteria are not necessarily mutually exclusive. You might have a clear horizon line with a blue sky above it, which also happens to be the brightest part of the picture. You then have a choice as to the criteria by which you will make the selection:
Selection Criteria
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You will want to target areas of your image based on certain criteria. For example, you might want to select everything above the horizon line to adjust the sky. Or, select all of the bright streetlights in a city at night to blend in those sections from another layer shot at a lower exposure. Below are four characteristics that you can base a selection on. These help determine what tool you want to use for your selection: 1. A selection based on edges or boundaries. For example, you might have a big round boulder in your image that looks dark. You could make a selection around the edges of the boulder to bring out some detail using an adjustment. The boulder has clear edges around it which form the basis for your targeted selection. 2. A selection based on a shape, independent of elements in your image. You might want to simply make a selection of a square or circle. For example, to create a vignette in Photoshop, you could start by creating an oval selection, which you would then feather and use to make a tonal 4
adjustment for a vignette.
the edge of the horizon the blue color in the sky; or the brightness value of the sky
Or, using more advanced techniques, a combination of more than one of the above. Selecting Based on Edges This article would become too long if I covered all of Photoshop’s selection tools and methods based on all four of these criteria. So, instead we’ll focus on how to make selections based on one criteria... edges or boundaries. If you are not yet an advanced user of Photoshop, then this may be the only type of selection criteria you are familiar with. Depending on the picture and targeted area, selections based on edges can often be the most challenging and labor-intensive selections to make. Let’s cover four of the most frequently used Photoshop tools designed to make a selection based on edges. All four of these are found in Photoshop’s toolbar.
1. The Quick Selection Tool The Quick Selection Tool is my method of choice for making selections based on edges. Here is what the tool looks in Photoshop’s toolbar.
With the tool active, note that a menu appears above. Make sure that the icon with the plus [+] symbol is selected.
Now, let’s use this image from Norway to demonstrate the Quick Selection Tool.
At this point, you need to zoom in and fine-tune your selection by: •
Adding to your selection by going over the areas that were missed in the selection while zoomed in.
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Subtracting from the selection by going over selected areas that you did not want selected by holding down the Alt/Option key on Mac (Alt key on windows) and running over those areas. Holding Alt down changes the tool to subtract from the selection rather than add to it.
After some fine-tuning, you should be able to get your selection quite close to perfect if there is enough of a defined edge. 2. The Pen Tool
If I wanted to select the sky in this image, I simply run the selection tool above the mountain and it selects the sky quickly and easily.
Done, right? Not really. If you look closely at your selection, it usually is far from perfect, even in cases where there is a very clear edge, such as is the case with this image. Let’s take a closer look at a small section of the mountain ridge...
The Pen Tool can make very precise selections. For certain complex selections, this is simply the best approach, even though it can be time-consuming. Here is what the Pen Tool looks like in Photoshop’s toolbar.
The image at the top of the next page is a good candidate for the Pen Tool. This is because it is a rather complicated selection due to Dany’s wand and some of the feathery edges of her costume. By the way, very detailed patterned edges like feathers can be selected using another technique in Photoshop, but I’ll save that for a future article. 5
on a Mac (right-click on a PC) within the shape that you just created, a menu appears. From that menu, choose “Make Selection”. You have the option to feather the selection. Many post-processors feather by around 1 pixel. You will then see the “marching ants” appear as the shape becomes an active selection. 3. The Magnetic Lasso Tool The Magnetic Lasso Tool looks like this in the Photoshop toolbar:
The Magenetic Lasso Tool is different from the freeform Lasso Tool (found in the same sub-menu) in that it is “sticky”. Even if you go slightly off of the edge, the Magnetic Lasso Tool can usually find the edge and place the point along it.
With the Pen Tool, you simply zoom in at around 100% and then start to click at points around your targeted selection. Using a stylus, such as with a Wacom Tablet, makes the Pen Tool much easier than if you are using a mouse or a trackpad. If you are off in your placement of a point, you can delete it. Just hover over the point and you will notice that a minus sign appears. You can delete the previous point by clicking on it again. The Pen Tool also has a time-saving feature for going around curved areas. You click on a point beyond the curve and drag up or down to create an anchor. Then, you can adjust the anchor to align with the curve in your image. This does take practice but can be a real time saver if you use this tool frequently. When you finish working your way around your subject, you click again on the first point you placed and it closes the loop. However, this is NOT yet a selection, but a “shape”. By doing a Control-Click 6
Using the same mountain peak image, I simply start clicking along the edge of the mountain, without worrying about zooming way in to get precise about clicking on the edge in every case.
Although the tool can work well for defined, smooth edges, this complex edge resulted in an imperfect selection:
4. The Magic Wand Tool (Hybrid) The Magic Wand Tool selects based on both color and tone. However, edges usually involve a change in color and/or tone and so the result is that it does often indirectly select based on edges, if they are clearly defined. If there is a consistency in color and tone across the area you want selected, along with a clear boundary, the Magic Wand Tool can be a fast way to make a selection. However, this tool would not work well for selecting the cloudy sky in the previous example because of the differences in color and tone across the sky as well as the similarities in tone between the clouds and the snowy mountain. To illustrate how this tool works, here is a shot from Namibia with a cloudless sky.
I simply choose the Magic Wand Tool.
For this image, I set up my menu like this:
els that are connected to each other. So, it will not select separate areas in the picture that are isolated from the pixels that were included in the selection. They have to be adjacent to be included. •
The “Sample All Layers” box means that all layers will be accounted for when creating the selection, not just the active layer.
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You will want to experiment with the Tolerance by adjusting the number to see how it affects your selection. The lower the tolerance, the more similar the pixels have to be to the place you click on in order to be included in the selection.
Sound confusing? This particular Photoshop tool is much easier to use than to explain, so give it a try! With the above settings, I clicked three times in the sky. The second two clicks were in areas of the sky that were not included in the first selection. After three clicks and about 2 seconds, this was the selection I came up with:
Again, this tool works well when you are selecting an area of your image that has relative consistency of color and tone and a clear boundary. I can teach you my processing techniques through one-on-one, on-line instruction via Skype and screen share. I can help you with: • • •
And this... Here is what some of those boxes do: •
The Contiguous box limits the selection to pix-
Basic Lightroom and/or Photoshop Intermediate and Advanced Environmental Portrait Processing Techniques Intermediate and Advanced Landscape Processing Techniques
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Camera Setup: Menu Items to Pay Attention To Camera menus can be a real mystery. This is because most modern professional cameras are very customizable. Fortunately, the vast majority of settings can be left just as they were when your camera shipped. How you set up your camera is a matter of personal preference and comes down to what works for you. So, this article isn’t about trying to get you to set up your camera in a certain way. Instead, I will go through the menu items in my camera that I think are worth checking out.
both metering and focus (assuming your lens is set to autofocus). You then press the shutter button the rest of the way down to take the picture. So, every time you press the shutter, your camera meters, focuses, and shoots. In many situations, this is not ideal. With back button focus, you remove focusing from the shutter and assign it to a button on the back of the camera. Although the menus are different for every camera, within my Canon 5d Mark IV’s menu, I first go to the mysterious Custom Controls menu.
I must apologize to my Nikon, Sony, etc. friends... I am more familiar with Canon and will be using examples and pictures from my Canon 5d Mark IV. However, many of the higher end cameras have similar controls and features. So, if you shoot a comparable Nikon, there is a decent chance that a virtually identical menu option is available on your camera also. 1. Back-Button Focus I recently upgraded my camera. The first thing I did was to set my camera to “back button focus”. Cameras typically arrive set up in a way that you push the shutter button down halfway to achieve 8
Selecting this opens me up to the menu where I assign what the various physical buttons and dials on my camera actually do.
I first assign the “shutter button half-press” to start metering, but NOT engage autofocus.
2. Shoot to Multiple Cards My camera has two card slots and can be set up to save every picture I take to both cards. This gives me added protection against losing my images if a card were to become corrupted. Once I have safely downloaded the images from my main card, I re-format the 2nd (back-up) card. The Canon menu item to set this up is “Record func+card/folder set”, found in the yellow menu.
Hitting the Set button registers the change and takes me back to the main Custom Controls menu. Next, I scroll down to the control for the AF-ON button.
After opening the sub-menu, I set up my camera to record to both cards at the same time.
I assign the AF-ON button to both meter and start autofocus. This completes my transition to back-button focus. I now focus with the AF-ON button. The camera does not re-focus every time I hit the shutter button. 9
In my case, I assign card 1 as the playback card and consider it as the “main” card which I will view during playback and upload when finished.
You have to be VERY careful when erasing/re-formatting either of your cards, so that you don’t accidentally erase the wrong card. 3. File Format / Image Quality I always, always, ALWAYS set my camera to shoot in RAW format. If you are taking family pictures, I can see switching over to JPG for a bit. However, I even avoid this as I would not want to forget to switch back to RAW and realize part way into a trip that I had been shooting JPG’s all along.
This movement of the mirror can result in a minor amount of camera shake. So, Mirror Lock-Up splits the mirror movement from the taking of the picture. For certain images, such as landscapes shot from a tripod, this works well.
With Mirror Lock-Up enabled, you press your remote shutter trigger twice: once to lift the mirror and a second time to create the exposure. Note that, if you use Live View (see next section), the mirror is already locked up. 5. Enable Live View Live View allows you to see what the lens sees on the screen on the back of your camera. It also allows you to zoom in on the screen for more precise focusing. Whenever I am setting up a shot on a tripod, I use Live View. I also often turn on Live View when I am walking around to settle on my composition if I am close to foreground elements. On my Canon, you have to first enable Live View in the menu and then activate it using a button on the back of the camera.
As you probably already know, RAW files have much more available data for post-processing. I can recover detail in the shadows and some of the highlights and get the best results when post-processing. 4. Mirror Lock-Up For mirrored cameras, the internal mirror has to move out of the way in order to create the image. 10
6. Date/Time/Zone When you travel across timezones, it is nice to be able to later see what time you took your pictures in the timezone in which you were shooting. Although this is a nice idea, unfortunately I forget to do this EVERY time I travel.
8. Image Review Time I like a little extra time to review my images, so I set my review time to 4 seconds.
7. Auto Exposure Bracketing Auto Exposure Bracketing allows you to quickly bracket images of different exposures. This is useful when the dynamic range in your scene exceeds what your camera can handle such that you cannot preserve both shadow and highlight detail with one exposure. In the case of my Canon camera, you first set the number of bracketed shots in one menu item.
9. Custom / Favorites Menu With my Canon, I can create a favorites menu, called “My Menu�. This allows me to put the menu items I use most often in one convenient place. For example, I added Mirror Lock-Up, Auto Exposure Bracketing, # of bracketed shots, and the Date/Time/Zone to this menu because I adjust these while shooting.
I have used the menu to set my camera to bracket three exposures. I then go into a separate menu item and use a dial to activate Auto Exposure Bracketing and determine how many stops above and below the additional exposures will be shot at. 11
FEATURED PHOTOGRAPHERS:
2017 Venice Workshop Participants
Image by Louise Wolbers
Image by Barbara Summers
Image by Alan Yatagai 12
Image by Chris Budny
This month, I am featuring the images of several participants from our 2017 Venice Carnival Workshop, led by myself and Renee Doyle. We all had a lot of fun while there. In addition to finding opportunities to shoot throughout Venice, Renee and I had arranged about 15 private shoots with Carnival models in advance of the workshop. Congrats to everyone for bringing back some great images!
Image by Barbara Summers
Image by Chris Budny
Image by Louise Wolbers
Image by Alan Yatagai 13
Some behind the scenes shots from our 2017 Venice Carnival Workshop....
Photo Courtesy Ed Sylvester
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The Story Behind the Picture Small World
I just returned from a photo tour in New Zealand last week. In May, I am heading to China for another tour that I am co-leading with Rick Sammon. Prior to these tours, I get contacted by customers with questions in advance of the trip. I had chatted with one of our China customers just prior to leaving for New Zealand. We talked a bit about cameras and lighting. He mentioned that he shoots with a Hasselblad, which is a high-end camera that you don’t see in the field very often. With that as background, now to the image... the above shot is of Bennett’s Bluff in New Zealand. Although this was shot a year ago, I was back at this same location again just a few weeks ago. This picture is shot from a small roadside pull-off about 25 minutes out of Queenstown. This year, we managed to get some really beautiful lighting. Our group was there shooting on our own when a vehicle pulls up and a couple of guys jump out to start shooting. They were very friendly and we got chatting as we were shooting. After the light had started to fade, one of the two guys walks over to officially introduce himself. I notice that he has a Hasselblad camera around his neck about the same time he introduces himself. Sure enough, it is my participant from our upcoming China trip. I remember we had both mentioned that we were heading off on trips but did not compare notes on our destination. Meeting on the side of the road halfway around the world counts as an “It’s a small world” moment!
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2018 PHOTOGRAPHY TOURS & WORKSHOPS http://www.kenkoskela.com/product/photo-tours-workshops/
LOFOTEN, NORWAY IN WINTER w/ KEN KOSKELA February, 2018
ONLY 2 SPOTS LEFT!!
Winter in Lofoten, Norway has to be seen to be believed. You’ll be up close with majestic fjords, snow-covered jagged mountains, icy blue water lakes, quaint fishing villages, and beautiful rocky shoreline. To top it off, the periods of low-angled sunlight can last for hours. Lofoten is also known as one of the premiere places in the world for experiencing and capturing the Northern Lights. I am limiting the group size to just 5 or 6 participants. If you haven’t experienced and photographed Lofoten during the Winter, this is your opportunity! http://www.kenkoskela.com/product/2018-lofoten-norway-winter-photo-tour/
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2018 PHOTOGRAPHY TOURS & WORKSHOPS http://www.kenkoskela.com/product/photo-tours-workshops/
GUILIN, CHINA w/ RICK SAMMON & KEN KOSKELA May, 2018
JUST ANNOUNCED!!
Guilin, China is a photographer’s paradise. Join Rick Sammon and Ken Koskela to photograph the beautiful and unique karst mountains, the winding Li River, cormorant fisherman at sunrise and sunset, the incredible Longji rice terraces, the XiangGongShan overlook, Cuipinghsan Hill, and many other locations. We will also drop into several rural villages in search of portrait opportunities. We will be visiting some of the same villages where I have gotten several of my best portraits. http://www.kenkoskela.com/product/2018-guilin-china-photography-tour/
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2018 PHOTOGRAPHY TOURS & WORKSHOPS http://www.kenkoskela.com/product/photo-tours-workshops/
KENYA PHOTO SAFARI w/ KEN KOSKELA & RENEE DOYLE Aug./Sept. 2018
SOLD OUT! CONTACT ME RE: POSSIBLE 2ND TOUR
Join Ken Koskela and Renee Doyle for an incredible and unique photo safari experience for a small group of just 5-7 participants. We will be staying in 5-star luxury tents in top conservancies located outside of the Masai Mara National Reserve. We will have exclusive use of two vehicles in areas of high concentration of wildlife, allowing participants exceptional wildlife encounters. The conservancies strictly monitor the number of vehicles in the area. Participants will also have the option of reserving their own row in a vehicle. http://www.kenkoskela.com/product/2018-kenya-photo-safari-tour/
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2018 PHOTOGRAPHY TOURS & WORKSHOPS http://www.kenkoskela.com/product/photo-tours-workshops/
VENICE CARNIVAL w/ KEN KOSKELA & RENEE DOYLE February, 2018
SOLD OUT - WAITING LIST ONLY
Venice is one of the most beautiful and unique cities in the world. Each year, during the Carnival festival, Venice comes alive as amazing models in ornate masks and incredible costumes descend upon the city to be admired and photographed. I am very excited to be co-leading this workshop with Renee Doyle, whose masterful Venice Carnival composites are an inspiration to many photographers, including myself. Renee and I have some great connections with many of the best models which will allow our group to have opportunities for private shoots in some locations away from the crowds. http://www.kenkoskela.com/product/2018-venice-carnival-photography-workshop/
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2017 PHOTOGRAPHY TOURS & WORKSHOPS http://www.kenkoskela.com/product/photo-tours-workshops/
CANADIAN ROCKIES w/ KEN KOSKELA & JOSH MERRILL October, 2017
The Canadian Rockies are a place of unparalleled beauty and adventure. From jagged, snow-capped peaks to turquoise glacial lakes, the Rockies offer some of the best landscape photography opportunities in the world. We will focus on the majestic Banff and Jasper National Parks and adjust our daily shooting locations to maximize our chances for good light. Additionally, we will keep our eyes open for clear skies at night with the hopes of capturing the Northern Lights and star-filled skies with the Rocky Mountains as an amazing foreground. This is not a trip to be missed! http://www.kenkoskela.com/product/2017-canadian-rockies-photo-adventure/
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2017 PHOTOGRAPHY TOURS & WORKSHOPS http://www.kenkoskela.com/product/photo-tours-workshops/
TUSCANY & CINQUE TERRE w/ JIM ZUCKERMAN & KEN KOSKELA October, 2017
2ND TOUR ADDED!!
Fortified medieval towns, golden mists in the morning, cobblestone streets, artistic stands of trees, awe inspiring cathedrals -- all of these are Tuscany plus a whole lot more. Combine the Tuscan experience with the stunning Cinque Terre Coast, where five colorful villages hug rocky cliffs above the deep blue sea and you’ve got an Italian experience that will thrill anyone who loves photographing beauty, history, culture and art. We will take advantage of the best lighting early and late in the day to offer opportunities to capture beautiful images. This is not a trip to be missed! http://www.kenkoskela.com/product/2017-tuscany-cinque-terre-jim-zuckerman-ken-koskela-tour-2/
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Seeking Out Great Subjects I ran across a great quote recently by National Geographic photographer Jim Richardson: “If you want to be a better photographer, stand in front of more interesting stuff.” There is a lot of truth to that. In fact, one of the best lessons I learned early on from photographer Jim Zuckerman (who I am co-leading a Tuscany / Cinque Terre tour this year with) is that great subjects form the foundation for great pictures.
ence in the final result. Great Animal Subjects The picture above of the Red-Eyed Tree Frog is a compelling image because the frog is super cool. Put an “ordinary frog” on the same Heliconia flower and the picture will not be nearly as interesting. Great People Subjects
A great subject can make the difference between a snapshot and a work of art. Yes, there are some excellent photos out there of very ordinary things. But, quite often, the strength of your photo depends on the strength of your subject.
I’ve seen great pictures of “everyday people” (if there is such a thing!). However, there are people out there that are especially unique and compelling looking. I like to take pictures of older people that have been around the block a few times because they often make for amazing subjects.
To be clear, don’t avoid taking pictures of ordinary things. But, take the extra step to seek out compelling subjects. Below are some examples of images where an exceptional subject made all the differ-
The older Chinese man on the next page is no exception. The picture is interesting largely because the subject is extraordinary. You could have spent all day shooting a picture of me and you would not
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have gotten anywhere near as interesting a picture. The choice of subject made all the difference.
“Conditionally Great” Subjects Many “great subjects” really only become great under the right conditions. The Ancient Bristlecone Pine Tree below is very cool. However, a snapshot of the tree in the middle of harsh sunlight will likely not result in a compelling picture.
Great Landscapes The picture below is of a very unique place called “The Subway”. It is located in Zion National Park and involves a long hike, scrambling over and between rocks and across rivers. But, when you arrive, you are literally in an otherworldly place. If conditions are right, you will end up with an image that you will be proud to add to your portfolio, which again is based on a strong subject.
Put the Milky Way behind it, however, and the tree reaches its full potential as an excellent subject. The strength of the tree as a subject changes with the conditions.
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MISS AN ISSUE? Click the magazine covers below to see past issues.
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March 2016 • Pushing blue into the shadows • Smoke composites • Guilin, China • Including motion in your images • Wide-angle portraits • Backing up your pictures • Big impact with small subjects
April 2016 • Complementary colors • Dealing with foggy lenses • Effective silhouette images • Gradient vignettes • Watch the windows • Shooting into the sun
May 2016 • Solid neutral density filters • Web sharpening using TK Actions • Following and breaking the rule of thirds • Packing for an outdoor photography camping trip • Pictures that make people think
June 2016 • Using a circular polarizer • Intro to luminosity masking • Oil and water pictures • Minimum shutter speeds • Coastline moving water images
July 2016 • Exposing flash and ambient light separately • Incorporating opposites into your images • Venice during Carnival • Orton effect • Including reflections in your pictures
August 2016 • Shooting the Milky Way, Stars and Northern Lights • Cathedral images • Controlling tonal contrast with a histogram • Focusing strategies for moving subjects
Click HERE to receive Inspirational Photography monthly. September 2016 • Post-processing Milky Way shots • Controlling motion in landscape images • Increasing water texture with Nik • Shooting cities at night
October 2016 • Shooting and processing star trails • Eliminating distractions • Dramatic side-lighting • Creating a texture layer in Photoshop • Inconvenience leads to better pictures.
November 2016 • How to use an ultra-wide lens • Search Engine Optimization for Images • Photoshop’s Smart Objects for 2nd Chance Adjustments • Leading Lines
December 2016 • Natural vs. Artificial Light Portraits • Blurred Water Creek Images • Layer Adjustments for Printing • Don’t Miss the Shot
January 2017 • Eliminating Camera Shake • Location Feature: Cinque Terre • How to Create Starbursts in Camera • Photoshop’s Blend If Feature
February 2017 • Making the Hands Prominent in Portraits • Hummingbird Photography - Guest Article by Jim Zuckerman • De-Mystifying Image Sharpening • Precise Camera Placement
March 2017 • On-Camera Fill Flash • Vignette and Aura Post-Processing Techniques • Exposing for Snow • Low Perspective with a Wide-Angle Lens
April 2017 • Identifying Foregrounds in Nature • How to Eliminate a Halo • Location Feature: Canadian Rockies • Interview with Jack Brauer • Should I Zoom In To focus?
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