Thursday, May 31, 2018

TIME Magazine uses 985 drones to create its latest cover

We are all witnesses to the expansion of drones in our culture. The latest issue of TIME is a special report on this topic, and for this purpose, they have created quite an epic cover. 985 illuminated drones were hovering in the sky, forming TIME’s iconic logo and red border. The formation was also captured […]

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Focused on career: Largely self-taught, Post Falls senior says his photography business is earning revenue - The Spokesman-Review

Post Falls High School senior Jacob Guy turned a passion for taking pictures into a sustainable career path. He's made a name for himself with his own business, That Guy Photography, where he shoots weddings, senior portraits and family photos while ...



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Buzz Briefs: Light Painting Photography program to be held at library - Hickory Daily Record

Adams is a professional photographer specializing in nature photography of his home state North Carolina. He has produced several nature and photography books including North Carolina Waterfalls, North Carolina Then & Now, and Backroads of North ...



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Working with Different Shutter Speeds for Landscape Photography

There are three fundamental settings in landscape photography: the ISO, Aperture and Shutter Speed (known as the Exposure Triangle). While all of these are equally important to understand in order to create technically correct images, there’s one that’s extra important when it comes to an image’s visual impact. Adjusting the shutter speed makes a big difference and is often what can make your image stand out from the crowd.

Choosing the ideal shutter speed is not an easy process though. There rarely is a single correct shutter speed but there certainly are scenarios that benefit from a specific one. In this article, we’ll look at a few different scenes and how the shutter speed affects each of them.

Working with Fast Shutter Speeds

The easiest shutter speed to work with is a fast one. Working with fast shutter speeds doesn’t require a tripod and you can easily photograph subjects that quickly pass by. This is also the most common choice for most beginning photographers as it doesn’t require much effort (and most auto functions choose a relatively fast shutter speed).

Below you have a typical example of when you need to use a fast shutter speed. In order to freeze the motion of the deer, I had to increase the shutter speed to 1/320th of a second. Had the deer been moving at a higher tempo I would have to increase the shutter speed even more to avoid any motion blur.

deer in a field - Working with Different Shutter Speeds for Landscape Photography

Photographing animals is not the only time where you should use a fast shutter speed though. In the image below, I used a shutter speed of 1/1600th.

Why did I use such a quick shutter speed for that scene? By the looks of it, the water is quite still, there are no moving subjects and there’s still enough light to use a slightly slower shutter speed, right? Yes, however, this shot was taken from a boat and even though the waters were relatively still, I needed a very quick shutter speed in order to freeze the scene without any blur from camera movement.

iceberg and water - Working with Different Shutter Speeds for Landscape Photography

Use the ideal settings not perfect ones

Had I been standing on land, I could have easily used a slower shutter speed and achieved a similar look. In fact, the overall quality could have been even better as I could have used a lower ISO and an ideal aperture. However, the purpose of photography isn’t to always have the perfect settings; it’s having the ideal settings that allows you to get the shot within the given conditions. The most important is to actually capture the image.

For too long I was too focused on always having the perfect settings. The truth is that this often leads to missing the shot as you focus too much on the technical aspect rather than working with the conditions you’re given.

For example, using a slower shutter speed when standing on a boat (such as in the image above) would have led to the icebergs being blurry due to the motion. What would you prefer? A blurry picture which is “technically” perfect, or a sharp picture that doesn’t have the technically perfect settings?

Before we move on to slower shutter speeds, let’s look at a few more scenarios where a fast shutter speed is recommended:

  • When photographing handheld.
  • Photographing quickly moving subjects.
  • When aiming to freeze motion.
  • When photographing from a vehicle.
Working with Slow Shutter Speeds

In landscape photography, the difference between slow shutter speeds is much bigger than between fast shutter speeds. While you won’t see a huge difference between 1/320th of a second and 1/640th of a second (in most cases) you may see a big difference between 10 seconds and 60 seconds. Because of this, I’ll split this section in two parts: less than 30 seconds, and more than 30 seconds (Bulb Mode).

dark image with moving water - Working with Different Shutter Speeds for Landscape Photography

The definition of a long exposure is somewhat vague but in my Ultimate Guide to Long Exposure Photography eBook, I describe is at the shutter speed where you no longer can capture a sharp handheld image. Typically, this is in the range of 1/50th of a second, depending on your camera and focal length (a longer focal length requires a quicker shutter speed to capture a sharp handheld image than a wide-angle).

Shutter speeds up to 30 seconds

While the difference between a 1 second and 30-second shutter speed is big, it’s more natural to put these together in one section to keep this easier to follow. Still, I’ll try to break it up a little to give you an idea of which shutter speeds you should experiment with in different situations. Again, there’s no correct choice and it often comes down to your preference and the tools you’ve got to work with.

When photographing beaches and seascapes where waves are crashing onto the shore or forming around rocks, I often work with a shutter speed of 0.5-1 second. I find that this creates a nice blur in the water while still keeping enough texture. A slower shutter speed such as 8 seconds blurs the water but not enough to give it the “silky” effect you often see with long exposure photography (we’ll come back to that in a bit).

waves crashing on a rocky shore - Working with Different Shutter Speeds for Landscape Photography

This also applies when photographing waterfalls and rivers. I tend to use a semi-slow shutter speed rather than an ultra-slow shutter speed when working with these scenes, as I prefer to keep some textures in the water.

As you lengthen the shutter speed you’ll see that moving elements become more and more blurry. In the image below, I used a shutter speed of 20 seconds to blur the water and give some motion to the sky. If you look at the clouds, you can see that they have been moving and it’s starting to have the “dragged sky” effect.

seascape scene - Working with Different Shutter Speeds for Landscape Photography

Keep in mind that the speed of the clouds determine how slow the shutter speed needs to be in order to pick up this motion. When clouds are moving quickly you can pick up their motion even with a shutter speed of 5-10 seconds, but to really get the “dragged sky” effect you often need to use a shutter speed (or exposure time) longer than 30 seconds.

Shutter speeds longer than 30 seconds (Bulb Mode)

In order to achieve a shutter speed longer than 30 seconds you most likely need to activate Bulb Mode.

When I first got into long exposure photography and purchased my first 10-Stop ND filters, I immediately got hooked on these ultra-slow shutter speeds. I’ll admit that I don’t do as much of it anymore (as it rarely fits with the vision I have for most locations) but it’s certainly a lot of fun to play with.

The main reason to use a shutter speed longer than 30 seconds for landscape photography is to achieve the “dragged sky” effect and to completely blur out moving elements such as water. It can also be a good way to remove people from your images (if they walk around during your 2-3 minute exposure they most likely “disappear”).

sunset on a coastal scene - Working with Different Shutter Speeds for Landscape Photography

For the image above I used a shutter speed of 180 seconds. As you can see, this has completely blurred the water and the sky is dragged across the frame.

Conclusion

Working with longer exposures can be a lot of fun but it’s not something that’s always beneficial. For example, when photographing a scene that doesn’t have any moving elements (and no clouds), there’s no need to use an ultra slow shutter speed, as it will most likely look exactly the same with a slower one.

So knowing how to select the best or most appropriate shutter speed takes practice, and comes down to what you want to achieve in your image.

For more information about this and other aspects of this type of photography, check out my Ultimate Guide to Long Exposure Photography eBook,

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Camera+ 2 brings a new interface, raw editing and dual camera support to your iPhone

Camera+ is one of my favourite iOS apps. It’s almost certainly the one I’ve used the most during the time that I owned iPhones. Whenever I got a new one, it was the first thing I’d install to replace the stock camera app that comes with iOS. It offers a level of control that the […]

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The photographer’s paradox: do you really need all your gear for each task?

Photographers invest a lot over the years. Not just in their gear, but also in their knowledge and skills of photography, retouching, marketing, and business. We all aim to make perfect photos, but Daniel DeArco shares an eye-opening video on this topic. He calls it “the photographer’s paradox” and he discusses whether you really need […]

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DANA Adobe hosts Native American photography exhibit by Dugan Aguilar - New Times SLO

She has been married to photographer Dugan Aguilar for 44 years, a fact that still makes her smile proudly and laugh as she describes his long history of documenting Native cultures in California. It's something she has to do, since her husband, now ...



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US Copyright Office proposes 41% increase in copyright registration fees

The U.S. Copyright Office is proposing changes in fees for copyright registration. The Office has issued a statement outlining the proposed changes in detail, but on average, the fees will increase by as much as 41%. According to the statement, the Office analyzed potential changes to fees and wants to ensure that they are “fair […]

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Sony manager confirms: Sony A7sIII is coming soon

Fabien Pisano, Sales Manager for Sony Europe was recently interviewed by Emmanuel Pampuri. In this interview, Pisano revealed some details about the Sony A7s III, as well as the FS series. The interview is in French, but we’ve picked up some details the guys at Sony Alpha Rumors translated. Sadly, I don’t speak French so […]

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Wednesday, May 30, 2018

How Bad is GDPR for Photographers?

The EU has a new data protection law, the so-called GDPR, the General Data Protection Regulation, or as we Germans like to call it: “Datenschutzgrundverordnung” (Gesundheit!). The rules took effect on May 25th and so far it’s pretty chaotic: in the EU we cannot reach some newspapers in the outside world because they cannot comply with the new rules.

A guy in Austria is using the law to file $8.8 billion dollar lawsuits against Facebook and Google. Hundreds of bloggers have taken down their sites, fearful of the possibility of serious fines. Internet light bulbs have stopped working properly. And photographers are being targeted, too.

Just how bad is it?

If you’re a professional, then you will need to fix your customer relationship management, your website, your data security, and much more. Just don’t email those stupid GDPR emails if you run a newsletter — chances are, you’ll just make things worse. If in doubt, ask a lawyer. And there will be doubts.

If you’re just a mom or pop shooting pictures of your family, you should be fine. The GDPR does not apply to data processing “in the course of a purely personal or household activity.” But beware: if you have a million Instagram followers, your kid’s birthday party is probably not a “household activity” anymore.

If you’re a photo enthusiast, then things get tricky.

See, the GDPR sees photography as something even the first Terminator could do: processing personal data. Yes, your dreamy picture of that girl in the sunflower field is the “collection and sharing of personal data” in the eyes of a data protection officer. Many things in a photo are personal data: her face, the location, the time and date, and everything that is tied to her identity.

The legal consequence: you need to provide some kind of justification to take that picture and to put it on your hard disk or — god forbid — to share it on Instagram. If you’re a pro, you have a model release. If you’re just a friend, it’s out of the scope of the GDPR (again, “personal or household activity”). But an enthusiast sits uncomfortably in the middle.

Thinking about the GDPR might cause enormous headaches.

Are you ready to comply with your data duties? To wipe out personal data of someone who files a complaint, years after you took his or her photo? Are you ready to find each photo you ever made for your Flickr portfolio and delete it upon request?

Street photography especially becomes a legal nightmare. You cannot get consent before you take the shot because that would usually destroy the moment. According to the data protection law, you’re not allowed to only ask for it afterward. If you take a picture as an event photographer, you might argue that taking pictures of visitors at a conference is “necessary for the purposes of the legitimate interests” (Art. 6 lit f GDPR). You don’t need consent then.

But can you do that if you shoot that amazing shot of an elegant business guy in a light cone on the street? Probably not. And you certainly cannot do it when a child is in your picture. That “legitimate interests”-argument does not apply “where such interests are overridden by the interests or fundamental rights and freedoms of the data subject which require protection of personal data, in particular where the data subject is a child”.

Of course, there were laws for photography before. Germany has had a law for photography dating back to 1907, when the Bundesrepublik was still a “Kaiserreich”: The Kunsturhebergesetz. You could be sentenced if you circulated pictures of people without their consent. It’s a reaction to the world’s first paparazzi: two photographers had taken a shot of the deceased Otto von Bismarck on his deathbed. Thank you, Willy Wilcke and Max Priester! People like you are the reason why we cannot have nice things anymore.

Bismarck on the deathbed of July 31, 1898 by Willy Wilcke and Max Priester

Over the years, our courts had found an acceptable balance between privacy rights and photography freedom. Very recently, the German Constitutional Court even ruled that street photography is protected by the constitution because it is “art”! Hear, hear!

That fair balance is at peril with the GDPR. The nature of an EU regulation is brutal and relentless: these laws come into force in every country and the courts have to ignore all national laws that contravene.

There is some hope though: some lawyers argue that the good old law from 1907 persists despite the GDPR. They cite Art. 85, a provision that deals with “Processing and freedom of expression and information”. It calls for Member States “to reconcile the right to the protection of personal data pursuant to this Regulation with the right to freedom of expression and information” — also for “artistic expression”, read: street photography.

Sweden seems to have such a law. Many other EU countries don’t, including Germany. Some argue that the old law from 1907 simply is such a reconciling law. But nobody knows for sure, and that’s the biggest problem: the legal uncertainty alone drives many photographers up the walls, especially in Germany.

So blurry, so data protected!

The current situation is tragic: Germany should welcome street photography. While it may not be the birthplace of street photography, at least a German developed the tool for some of the most famous photography artists: Leica cameras! Also, in Heinrich Zille we had one of the first photographers who captured everyday scenes instead of posed pictures. As early as 1900 he showed Berlin of the Kaiserreich as it is. (Probably. There are people who doubt that it was really him who pressed the button.)

This seems compliant – but who is “Cleo”?

Don’t get me wrong. It is okay to learn from history. The EU has traditionally had a thing for data protection. We’ve had quite an impressive history with dictators and devilish intelligence agencies (e.g. Gestapo, Stasi), so we’re keen not to allow anyone to know too much about us. No wonder it was a German guy from the Green Party who pushed for the GDPR.

It’s also okay to look for a legal answer to mass surveillance and mighty Internet companies like Facebook and Google.

Still, it makes you wonder: are we doing the right thing when the outcome of a law is paralyzing legal uncertainty and, at least for photographers, not more liberty but less?

About the author: Hendrik Wieduwilt is an amateur photographer, journalist, and legal affairs correspondent based in Berlin, Germany. The opinions expressed in this article are solely those of the author. You can find more of his work on his website, Instagram, and Twitter. This article was also published here.



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It’s official: after eight decades, Canon stops making film cameras

After 80 years, Canon has officially discontinued their last remaining film camera, the EOS-1V. This move marks the official end of the company’s film camera business, and the Canon EOS-1V no longer exist in the company’s inventory. Canon entered the camera industry in 1937. Over the eight decades, it has become a global leader in […]

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How to Shoot Corporate Headshot Photos

If you’re interested in branching out your photo business to include corporate headshots, here’s a helpful 24-minute tutorial that can help you get started. In it, photographer Sean Tucker shares his system of effectively photographing a large number of people in a short amount of time.

“This isn’t usually glamorous work,” Tucker writes. “You often only have a couple of minutes with each person and so speed and consistency are the name of the game.”

Tucker has streamlined his system so that he can generally bring a subject in and out in between 90 seconds to two minutes. In the video, he covers strategies and tips for things like setting up the lighting, posing your subject, and choosing/organizing the resulting files.

(via Sean Tucker via ISO 1200)



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17 Love-Filled Photos That Capture The Beauty of Motherhood

Caitlin Domanico's photography focuses on the mother-child bond.

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5 Landscape Photography Mistakes That Keep Your Images From Standing Out

Shooting landscapes is one of the most popular genres of photography. Photographs of landscapes typically capture the presence of nature and can inspire you. Outside towns and cities, you are surrounded by beautiful scenery. However, taking a good photo of those epic views is not as easy as you think. Are you making these landscape photography mistakes?

Here are some tips to help you uncover why your landscape photos are not working for you and how you can turn unsatisfying pictures into your best ever images.

5 Landscape Photography Mistakes That Keep Your Images From Standing Out - HDR of Brecon Beacons

1. Including too much detail in the frame

Have you ever been on an amazing trip, gazed at a glorious landscape and captured the incredible scenery on camera only to find out your picture doesn’t stand out? There are several reasons why this is happening.

Including too much in the frame is one of the reasons why your photograph is not appealing to you. Perhaps the trees you have included are overwhelming the scene and making the view too broad. If so, eliminate these objects from the frame. Crop inwards slightly and simplify the field of view.

5 Landscape Photography Mistakes That Keep Your Images From Standing Out - field of tall grasses

2. Wonky horizons

One common mistake some photographers regularly make is to capture a scene with uneven horizon levels. You can become so engrossed in enjoying a breathtaking view that you can overlook this aspect.

Make sure you pay attention to ensuring the horizon line is straight when photographing your next landscape image. Don’t leave it until you get home to find out that your pictures are unbalanced or crooked.

Lauca - 5 Landscape Photography Mistakes That Keep Your Images From Standing Out

3. Taking the picture without thinking

Another mistake people make when photographing landscapes is to start snapping away without giving any thought as to what they are capturing. It is easy to get carried away with an incredible view in front of you. But if you take the time to consider why your photographs are not working for you, your results will improve.

poppy field and mountains - 5 Landscape Photography Mistakes That Keep Your Images From Standing Out

Take a view of the location with just your eyes, think what you would like to capture, and then take your photo. This approach of “seeing the scene” first can help you to take better pictures rather than just picking up your camera and taking a shot without thinking about what you are photographing.

green field with a rainbow - 5 Landscape Photography Mistakes That Keep Your Images From Standing Out

4. Shooting flat, uninteresting scenes

Imagine your dream landscape scene is right in front of you. You’re standing at the top of a magical mountain, alongside a beautiful flowing river, or above some rolling hills in the countryside, for example, and you start photographing the beautiful view.

When you check your images you discover they look dull and uninteresting. So you ask yourself why they are not standing out?

A major factor that can make or break an image of that stunning panorama is light. Without directional sunlight in your shots, the images can look flat and lifeless with few textures and tones. Below is an image where the sun catching the hills adds warmth to the image to make it more interesting.

golden hills - 5 Landscape Photography Mistakes That Keep Your Images From Standing Out

On your next landscape photography trip, I recommend paying attention to the light and trying to take pictures of more illuminated scenes. I suggest taking a photograph in no light and comparing it with one captured in some light.

Look at the differences and see how the images vary. Ask yourself how do they contrast? Is one better than the other? What makes it stand out?

5. Including distracting elements

Once you have found a visually compelling location and have some nice light, give some thought to the composition. Consider what subject matter looks interesting and only include that.

You will not be making the most of a scene if you include unsightly aspects of the surroundings such as telegraph poles or overhead electricity cables. If you have no choice but to capture these elements in your composition, you can always remove them in post-processing.

Below is an example where I have eliminated distracting elements after taking the picture, in the post-production phase.

foggy scene before - 5 Landscape Photography Mistakes That Keep Your Images From Standing Out

Before

foggy landscape scene after -5 Landscape Photography Mistakes That Keep Your Images From Standing Out

After editing.

Editing the photo to remove the unsightly wires enhances the image and helps to focus attention on the church, trees, and the mist.

Conclusion

With this article, I have identified five key landscape photography mistakes as to why your images might not standing out, and to help you take better pictures at your next photography outing. Now it’s time for you to put these tips to the test, so get out there and capture your greatest ever landscapes.

Do you have any tips you would like to share?

The post 5 Landscape Photography Mistakes That Keep Your Images From Standing Out appeared first on Digital Photography School.



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6 Light Beauty and Fashion Lighting Setup

I know it’s extremely trendy right now to say that ‘one light is all you need’, and although in certain situations this is true, a of the time extra lights will likely look better, or at the very least make your life easier. Now before you rush to the comments section to proclaim the purity […]

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How Tonl's Joshua Kissi uses stock photography to combat stereotypes - Fast Company

Joshua Kissi, who founded the popular style blog Street Etiquette, which morphed into a creative agency, is turning his artistic eye toward the ordinary. Tonl, his new stock photography company, offers original images that feature people of color and ...



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AI Is Already Changing The Way We Think About Photography - Forbes

AI is rapidly changing the way we think about photography. Just a couple of years from now, most advances in the photo space will be AI-centric, and not optics or sensor-centric as before. The advancement in photography technology will, for the first ...



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Once lost archaeology revealed by satellite images and aerial photography - ScienceNordic

We combined historical images with state-of-the-art aerial photography and modern airborne laser scanning, to turn back time and reconstruct the landscape and archaeological features no longer visible due to modern urban development. This combination ...

and more »


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How to build this heavy duty DIY camera car rig for only $30

Mounting cameras to cars is a lot of fun. It can allow us to get some unique and unusual perspectives in photos and videos. But how do you attach a camera to a car? There are a bunch of different ways from inexpensive triple suction cup mounts (that work surprisingly well) to extremely expensive commercial solutions. […]

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13 questions to ask clients ahead of a photography job

Since my first photography job, I’ve been commissioned by top brands including Adidas, Jose Cuervo, Amazon, Sony, AEG, Land Securities, Heineken and many more. I hope to be able to help others take their first steps into professional photography. Beginning with your first photography job, when you first start getting photography commissions as a photographer […]

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Tuesday, May 29, 2018

Leica to announce a new mirrorless camera in June, rumor says

According to Leica Rumors, Leica will announce a new full-frame mirrorless camera around June 14th.  LR suggests that the  camera will to will called the Leica C-M (or CM). No final confirmation yet. The new Leica full-frame camera is supposedly a “link between the CL and the SL models.” That makes me wonder if they’re making […]

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How to shoot a day-to-night transition, the holy grail of timelapses

The day-to-night transition has been the holy grail for timelapse photographers since timelapse first became a thing. What makes it difficult is rather obvious. The exposure is constantly changing as time passes. But dealing with that change in exposure over the course of an hour or two is not so straightforward. But it’s not impossible […]

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Four ways to recreate moonlight in your photos and video

There is more than one way moonlight appears in photos and videos. Sometimes it’s blue, sometimes it’s silver, and sometimes it’s just white. Nerris Nassiri from Aputure shows you four different ways to recreate moonlight in your shoots and how to keep it realistic. 1. Deep blue The moon itself is dull and grey, but due to some […]

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ON1 Photo RAW 2018 – A Beginner’s Guide

When people start photography, or even after they have been doing it for a while, they find a time when they want to start learning how to do some processing on their computer. Then they are faced with a heap of options. There are so many choices and trying to work out which one to choose can be hard. One option that is becoming very popular is ON1 Photo Raw 2018.

You can buy the software outright, so you don’t need to worry about any monthly subscription costs like others are offering. It is easy to learn and you will find that ON1 can likely do everything you need to do. One of the best aspects is the community of photographers around the program as well.

On1 Photo RAW 2018 - A Beginner’s Guide - textured image

Having fun with layers and the textures.

Here is a beginner’s guide to help you find your way through ON1 Photo RAW 2018 and give you the confidence to start working on your photos. You can download the program from their website.

There is a 30-day free trial available to see if you like it before buying, which of course you will. You can also just pay for it which isn’t very expensive either. Finally, if you do purchase it you will have the peace of mind knowing it is backed by a 30-day money back guarantee.

Browse Module

This is where you start when you open the program. Here you can find all your folders that contain your images. This is where you should start exploring what is possible inside ON1 Photo RAW. You can’t break anything and it is good to see what is available.

Hover over all the menu items along the top of the main window. You will see File, Edit, Album, etc., each of those has different options. While you may not use many of them at first, it is always good to know what is there. It will help you understand what is available and if you watch the many ON1 videos you will understand what they are saying and how easy it is to learn.

ON1 Photo RAW 2018

In the Browse module. Hover along the top to see what is in each of the menus.

On1 Photo RAW 2018 - A Beginner’s Guide - photo of a marina

An image with only basic adjustments made to it using ON1 Photo RAW 2018.

The most important thing to do is to find where your photos are located. Then click on Browse and look below. You may have to go searching, but just use the same process that you would if you were looking for them on your computer.

Again, it’s simple. Just point Browse to where your photos are located for them to appear. You don’t have to import photos to start working. You can add folders, subfolders, albums and smart albums (collections) so that they are easier to find in the future as well.

ON1 Photo RAW 2018

In Browse, you can see all your folders and subfolders.

Now it is time to pick a photo. Once you have one selected, double-click on it, press Enter, or you can just go to the side panel on the right, go to Develop, and your image will open there. Watch the short video below on the Browse module.

Develop

In this module, you can start to make changes to your images. This is where you can begin the process of creating the image that you had in your head when you took it. This is also where the first steps in raw processing will occur if you are shooting raw files.

Overall Settings

In Develop you can make many of the most common adjustments. Most images need something, whether that is changing the exposure, or perhaps bringing out the shadows, and you can do it all in the Develop module. If you’re just starting out with editing, the Tone and Color Mode is a good place to begin. From there you can make many adjustments to your image that will help make it look a lot better.

ON1 Photo RAW 2018

Overall Settings is where you can make most of the adjustments you will need to do.

You should play with all the sliders to see what they each can do. Don’t worry about going too far, nothing is fixed, and you can undo everything. In the photography industry, we call that non-destructive editing. You aren’t doing anything to your image that is permanent.

When using the sliders you don’t have to click on the actual pointer, just click anywhere you want and the pointer will catch up to you. You can slide along underneath it as well.

ON1 Photo RAW 2018

You will make the changes by using the sliders in the appropriate panels.

Go to the Extremes

Another reason for going too far is that it can help you work out where you need to be with your image. Take the slider to the max, and then you bring it back to where you think it should be. As you do this, you will start to understand what each slider is for and how you can use it. Don’t forget to try it in both directions.

ON1 Photo RAW 2018

Take the sliders to the extreme, see how far you can go. Don’t forget to bring them back.

Resetting or Undoing

If you want to go back to where you were at the start simply go to the top of the section (where the heading is) for example, Tone and Color. On the right, you will see a half-circle with an arrow. Click on that and everything will be reset.

ON1 Photo RAW 2018

Press the icon in the top right of the adjustments window to reset everything you have done.

For individual sliders, if you would like to reset just one, double-click on the name of the slider.

You can see in this section you can also change the white balance, vibrancy, and saturation. You can add structure to the image, though this should always be applied with caution. Many people think it will help sharpen their image, but if the image is not sharp already structure will not do that. What it does do, is give your sharp lines more definition.

ON1 Photo RAW 2018

This is the section where you can change the color aspects of your images, like White Balance.

There are a couple of other settings used for portraits. If you are doing photos with people you should try them out and see how they work with your images.

Lens Corrections

Most lenses affect your images and it is in the Lens Correction area of ON1 Photo RAW that you can correct that. Most of the time the software can detect your lens is, but if you use an unusual lens then you may have to add its profile or tell the program which lens was used. You don’t have to do this, but if you are using a wide-angle lens then it can be good to apply this setting.

Lens Correction is where you can fix the distortion that your lens can cause.

Details

The Details section is where you can reduce noise in your photos and do some sharpening. Both need to be used with caution. Overdoing it can cause unwanted halos and give your images a weird harsh texture.

As with the other sections, you should play around with all the sliders to see what they each do. Some will seem to make a difference, while others will look like they’ve done nothing. To really see what they do try enlarging the image to 100 or 200 percent. Some of them only work on individual pixels.

Details is the area where you can sharpen your image and reduce the noise in it.

Along the top of Details, you can see a default, low, high, and other options. These are like presets that you can use, or you can set your own and save it.

On1 Photo RAW 2018 - A Beginner’s Guide - pink flower

Using Detail to help reduce noise and sharpen the image.

Show More

Under Overall Settings, you will see a button that says Show More, click it. More adjustments will then be shown. If you select one a new window will appear under the others. Scroll down so you can make the necessary changes. Like many of the other settings try them all to see what you can do.

Under Overall Settings, you will see Show More. You will be given more options for adjustments to your image.

Local Adjustments

If you would like to make adjustments to particular areas of your image only, then this is the place for you to do so. Local Adjustments allows you to target parts of your images as opposed to global edits that apply to the entire image.

Local Adjustments is next to the Overall Settings tab.

If you decide that you want to make a certain part of the image darker or lighter (or add vibrance or detail) then choose Add Layer and a brush will come up. The brush has feathering which you can change to suit your image. The solid circle in the middle is how big the solid part will be and the dotted line around the outside is how far the feathering will go. To change that you can do it along the top, click on Feather, and move left or right to change the size.



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How to create your own LUT filters in Photoshop the easy way

LUTs have become a big thing recently. Once only used for grading video, they’ve become extremely popular for regular photography, too. Photoshop’s been able to read LUTs since at least CS6. But in CC it can also create them, too. In this video from Unmesh Dinda at Piximperfect, we see how to quickly and easy […]

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35mm, 55mm, 85mm or 70-200mm lens for portraits: which one should you buy next?

If you’re thinking of upgrading your kit with a new portrait lens, you might be indecisive which one to buy next. In this video, Manny Ortiz shows you what you can get with four different lenses: 35mm, 55mm, 85mm, and 70-200mm. He replicates the frame with each lens at the widest aperture to show you what […]

The post 35mm, 55mm, 85mm or 70-200mm lens for portraits: which one should you buy next? appeared first on DIY Photography.



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New Kickstarter campaign reveals Yashica Digifilm Y35 updates

Remember when Yashica raised $1.28 million on Kickstarter for their Y35 digiFilm camera a few months ago? Well, now they’re back with a few crucial updates to satisfy their backers’ requests. It now includes a bigger sensor (which is unfortunately still not APS-C size), and a f/2.8 lens among other changes. The Yashica Y35 is technically a […]

The post New Kickstarter campaign reveals Yashica Digifilm Y35 updates appeared first on DIY Photography.



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Ep. 282: You Use It Today, but by Another Name – and more

Episode 282 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Play,  or RSS!

Featured: Photographer and educator, Karl Taylor

In This Episode

If you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us.

Show Opener:
Photographer and educator, Karl Taylor opens the show. Thanks Karl!

Sponsors:
– Get 10% off great solutions at TetherTools.com with code PetaPixel10
– Get 20% off quality photo paper at IlfordUS.com with code PetaPixel20
– More at LensShark.com/deals.

Stories:
The program you may use today had a different name in the early days. (#)

Pricing and availability for Sigma’s “Bokeh Master”. (#)

The Northrups hold a company’s feet to the fire and makes them pay. (#)

The Leica M7 gets the axe. (#)

This might be the perfect jacket for photographers…or not. (#)

Drone owners in the US may have to make a significant change. (#)

My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”



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Tuesday's best TV: The Battle for Britain's heroes, Master of Photography, The Split - The Guardian

Tuesday's best TV: The Battle for Britain's heroes, Master of Photography, The Split. Afua Hirsch examines attitudes towards great figures from our history – was Churchill racist? – and snap judgments are made in Naples. Phil Harrison, Graeme Virtue, ...

and more »


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Monday, May 28, 2018

How to do Visual Storytelling with Photos

The old adage, “A picture is worth a thousand words”, essentially means that what you can see in one image would take many words to describe the contents, the action, the emotion, what it’s about, and so on. It’s visual storytelling. One powerful picture can evoke an instant response and connection. It allows people to shape what they see, tell its story to them in their words.

Think of some of the most iconic images in history – the sailor kissing the girl in a crowded street by Alfred Eisenstaedt, the Migrant Mother holding her children during the depression by Dorothea Lange, Clearing Winter Storm by Ansel Adams. They are all powerful images that tell a story with impact.

lady in an American flag outfit at a festival - How to do Visual Storytelling with Photos

Sometimes we want to tell more of a story of a place or an event, where we can take many images and tell much more of the story. This allows us to include extra detail elements, wider scene-setting shots, and have the action covered from different angles or points of view.

Doing this provides new challenges. The overall story needs to make sense, have a beginning/middle/end sequence, as well as have some action or conflict and possibly resolution. So the challenge is not just to take enough images to cover what is happening, but to then blend them into a coherent story which makes sense to the viewer.

What does it take to do visual storytelling with photos?

Here are some tips to help you increase the visual storytelling elements of your images.

Example images below

A 90-minute drive from where I live is a small village called Akaroa. It was settled in the 1840s by French settlers and later other Europeans, who shared it with the local Maori tribes. The history of the area is very important and celebrated every year with a weekend festival, starting with a parade featuring descendants of original settlers. I went along with my camera a couple of years ago and spent the weekend wandering around.

This is a context statement (see #4 below) and comments have been added to some images to provide further context.

1. Answer the five key questions
  1. What is happening?
  2. Who is there?
  3. Why is it happening?
  4. Where is it happening?
  5. When is it happening?

In relation to the festival. first I needed some scenery shots – this is the where.

How to do Visual Storytelling with Photos - Akaroa harbour in NZ with boats and a hill

Looking back up Akaroa Harbour to the Village, with Banks Peninsula hills in the background.

bridge over a stream - How to do Visual Storytelling with Photos

How to do Visual Storytelling with Photos - main wharf in Akaroa

Akaroa main wharf.

Include any well-known landmarks in the area – things that will easily visually identify it to anyone who has been there or seen them before. This helps give a sense of place and tells more of the where story.

2. Framing a sequence of events

Instead of trying to cram everything into one big image, where it can be confusing, shoot a series of more specific shots that relate to each other and tell the story that way.

Sequencing – is there a group of images you can put together that tell their own story?

3. Story structure

Your visual storytelling needs certain elements included to help it make sense, tell the story you want it to, and engage the viewer. This is called narrative. Essential elements of story structure include:

  • Introduction  – Sets the scene, introduces important characters, sets the tone and theme.
  • Plot – What is happening, who is it happening to, what are the outcomes?

What about the event? where is all the color and excitement? This is the What and the Who and the Why – which are all part of the plot.

I liked the contrast of the Maori woman and child in their native dress, against the bold red of the brass band.

Children in native Maori dress followed up by the descendants of French and German settlers in period style clothing.

Everyone enjoying the beautiful day out.

  • Themes – Your images should be linked in obvious, but subtle ways, to each other and this can be done in different ways:
    • Visual – Repeating elements (e.g. street signs), color (have a limited color palette or always show an element of a single color in each image).
    • Style – Have a consistent style in the way the images are shot or are processed, using a specific focal length or lens.
    • Consistency – Shooting the same subject but in different places or situations (e.g. interesting doorways, statues, manhole covers, all in different cities or countries) or shooting the same subject over time (a pregnancy story, or engagement to wedding day story).
    • Relationships – Between people or elements in an environment.

And as is traditional in Akaroa, dinner at the end of the day is fish and chips from the local shop by the beach, and ever-present seagulls fighting over a chip.

Note this isn’t the story as I would necessarily tell it visually, but examples of different shots of a place and an event to give you an idea of the things to look out for.

One of the things I did do is provide some consistency with the way they are edited, so tonally they are all the same, other than the variations in color temperature of the sun at different times of the day.

4. Context

The relationship of all the images to each other provide the overall context for the story to be structured within and therefore viewed. So when you are building your visual story you need to have an idea of the context to frame it all within. Otherwise, it could appear to be a group of random images that may or may not be visually related in some way.

It may be that a short textual description or explanation sets the scene and provides the viewer with enough context to assimilate the images within. However, that option may not always be available so plan your story so that it can stand alone on its own visual merits.

Final examples

Are there any local characters you should include? This is part of the Who.

Is there any interesting architecture that helps tell the story – like in this instance, some historical buildings?

This older building has been modernised but the date gives testament to its origins. The decorative street lamps add extra flavor.

Akaroa embraces its French history with red/white/blue featuring strongly, and many places and streets are French names.

Detail shots are also nice to include, they can add flavor to the series, and interest with different points of view. Use them to tell parts of the story.

This guy was clearly important but I didn’t catch his name.

A confession

I have a confession to make. The reality is that these images are actually sourced from about three different trips. They were not all shot in one weekend for the purpose of illustrating my point, and to a certain extent, that shows in the coherence of them.

While a story could be cobbled together from these images (or other ones in my archive) they were not all shot with the idea of craft and doing visual storytelling. That shows the importance of thinking about this beforehand and shooting with intent. It means your final outcome should be the better for it.

Summary

Event or travel photography has its own challenges, and it may not always be possible for you to think about doing visual storytelling when you are in the midst of things. Maybe you don’t have to cover the whole event or trip – maybe, just a special portion of it catches your interest.  Visual stories can be small and intimate too, they don’t have to be grand scale every time. A family birthday, the local school fair or market, a day out the beach, a walk in the park on a nice evening – three images, five more shots, and a few pairs of sequences.

Hopefully, this will give you enough of an idea to start thinking about telling a story with your images, it is not something I do enough myself, and if you have any tips, feel free to comment below.

The post How to do Visual Storytelling with Photos appeared first on Digital Photography School.



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