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How to properly resize images in Photoshop

How to properly resize images in Photoshop

By Nasim Mansurov

If you like sharing your photographs online, whether on Facebook or on your own blog, you should learn how to properly resize your images. While your camera can take very high resolution photographs, it is always a good idea to down-size or “down-sample” those images, not only because most websites won’t accept large images, but also because making those images smaller will actually make them look better, if done correctly. In this quick tutorial, I will show you the proper way to resize images in Photoshop. I have seen people employ all kinds of different techniques when it comes to resizing images in Photoshop. The below method is how I personally do it and it has been working great for me, at least based on your feedback. You can employ this technique to any photograph – whether it is a portrait or a sweeping landscape.

When I wrote about the benefits of a high-resolution sensor, I used the word “down-sampling” when talking about reducing noise and increasing sharpness in high-resolution images. Right after I posted the article, I got plenty of questions from our readers, asking about what the down-sampling process is like and how it can be done. I then realized that many photographers are used to the term “resizing” and have never heard of the term “down-sampling” before. I often use the word “down-sampling”, because “resizing” applies to both increasing and decreasing image resolution (and hence its size), while “down-sampling” only applies to reducing an image.

Read more via How to properly resize images in Photoshop.

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Posted by on January 27, 2012 in General, Post Processing, Technique, Tutes & Tips, Worth a Look

 

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100 Photography Tips Infographic – Expert Photography

Welcome to ExpertPhotography’s top 100 photography tips, picked from the best tutorials of 2011, and brought together in one place, for your ease. These tips are extracts from a variety of to the tutorials, where you’ll find much more information, to help you improve your photography. Here are the tutorials that the tips came from:

10 Tips For Better Portraits

10 Steps To Taking Better Photos

10 Top Tips To Taking Sharper Photos

10 Tips For Taking Better Candid Photos

10 Embarrassing Mistakes I Made As A Beginner Photographer

10 Ways To Critique A Photo

10 Reasons Your Photos Suck

10 Reasons Why Being A Photographer Sucks

Top 10 Photography Clichés You Should Avoid To Improve Your Photography

10 Accessories To Improve Your Photography

via 100 Photography Tips Infographic – Expert Photography.

 

RAW vs JPEG (JPG) – The Ultimate Visual Guide tutorial

RAW vs JPEG (JPG) – The Ultimate Visual Guide

October 2, 2010

RAW vs JPEG (JPG) The Ultimate Visual Guide

Overview

Shooting RAW vs JPEG is a question that every photographer faces at some point. There are many articles out there that cover the topic from the basics of size and quality, to all of the advanced technical details regarding color bits per channel, compression, firmware DCT processing, etc.

So, here is the disclaimer, if you want the technical details regarding RAW vs JPEGs, Digital Photography School has a great technical primer discussing the basic technical differences, a brief Google search will also unearth loads of additional more in depth technical resources as well.

This article is designed to teach you the differences between RAW and JPEG (JPG) from a pragmatic real world point of view. Thus, we will be using a lot of actual image examples to help show the exact concrete differences. In addition, we are going to leave out most of the technical mumbo jumbo that won’t really help you beyond being exceptionally proficient at speaking “nerd.”

via RAW vs JPEG (JPG) – The Ultimate Visual Guide tutorial.

 
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Posted by on January 12, 2012 in Featured, General, Technique, Tutes & Tips, Worth a Look

 

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How to Master Ghost Photography

By Christopher O’Donnell via Light Stalking

If you’ve seen photos of ghostly apparitions and wonder how they were captured, most likely they were not doctored or otherwise created in post process. Your camera has the fantastic ability to capture unique effects, including those often mistaken for ghosts and spirits.

Wall Of Heroes
Wall Of Heroes by starfish235, on Flickr

Ghostly images like seen above are created with the use of a slow shutter speed. If you’re not familiar with how your shutter speed can affect your final image, read my article here which explains it in great detail.

Before we get started, you should know that there are a few pieces of equipment needed to execute this technique:

1. DSLR Camera

…or at least a camera that you can control your shutter speed with. While you could probably get away with a point-and-shoot, your control will be rather limited.

2. Tripod

In order to have full control over your camera and avoid any unwanted blurring, a tripod is needed to help stabilize your scene. Again, you could get away without one, but you run the risk of camera shake – not to mention being without a tripod will greatly limit your angles and vantage points.

3. Remote Shutter Release Cable

This is to ensure that you don’t touch the camera when you press the shutter button, which is one of the most common ways to cause camera shake.

4. ND Filters

Whether you purchase the slot-in filters or the threaded, an ND filter is necessary for daytime ghost photography in order to limit the amount of light that hits your sensor.

Types of Ghost Photography

Typically, there are two identifiable types of ghostly images that are captured in unique ways:

1. The Transparent Figure

The transparent figure, which is quite haunting, is executed by the use of a perfectly still model combined with an extended shutter speed. You’ll have to experiment with this method as it is very dependent on your environment (amount of available light, your aperture, etc).

I am the master of my fate: I am the captain of my soul.
I am the master of my fate: I am the captain of my soul. by Aristocrats-hat, on Flickr

Typically, you’ll need a shutter speed of a few seconds or longer to allow for enough exposure time. The goal here is to have your model remain perfectly still, but only for a fraction of the exposure. This will allow for your camera to register an identifiable figure in sharp detail, but be transparent since the model wasn’t in frame the entire time.

When moving out of frame, do so quickly to avoid any blurring. You’re basically combining two photos in one here -one with you in frame and one without – so any slow movement in between will register.

2. The Flowing Figure

In contrast, the flowing figure actually depends on fast movement to be executed properly. Since your creating a somewhat transparent blur, there is no need for sharp detail.

ghost walk
ghost walk by Pedro Moura Pinheiro, on Flickr

Like with the transparent figure, this will take some experimenting as your shutter speed will vary on the amount of light you have. It’s important to move fast during the exposure so that the human shape is still somewhat recognizable, but greatly blurred.

For a truly ghostly effect, wear flowing clothes or even drape a bed sheet over your shoulders. When you combine this with moving briskly throughout your frame, your figure will appear more haunting.

Also make sure to create the environment. Since you’re going for a haunting image, your final photo will be enhanced by your surroundings. Pick a location that compliments the mood you’re going for – this will only be beneficial to your photo.

For more inspirational ghost photography, please visit this Youtube video. It’s a collection of images by photographer Cole Thompson, which prove to be stellar examples of this process.

Read more great articles by Christopher O’Donnell on his website or follow him on Facebook.

via Light Stalking » How to Master Ghost Photography.

 
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Posted by on May 30, 2011 in Featured, General, Technique, Tutes & Tips, Time Lapse, Worth a Look

 

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TUTORIAL: What’s your time of day? (Part 2) Shooting at Second Light

By tom dinning via Light Stalking

This is a guest post by Tom Dinning who, besides being a professional photographer, teacher and mini-celebrity in the Light Stalking community, has also shared some very popular tutorials in the forums and in other posts.

If you have recovered from my recent post on shooting at first light, you might be ready for something a little more sedate. Enjoy breakfast with your partner, have an extra cup of coffee, even suggest your partner might like to come along (…on second thoughts, tell him/her you’re going to the dentist). Today we are photographing in that lovely light after sunrise.

Second light – Botanic Gardens.

I call this second light because, although I hate getting up too early, my preference is still for the light before sunrise. Still, it’s a great time to be out and about, especially if you’ve pulled a ‘sicky’ from work to join me.

I’m heading for the local Botanic Gardens for no particular reason than it’s there. My kit is made up of the usual suspects: a wide zoom (14 -24mm) and mid (24-70mm) but I’ve added a macro and a long focal length (200mm) for good reason as you will see.

Today is bright and sunny so I make sure I have all my lens hoods and a hat (that’s for my balding head). The tripod is always with me. In my experience, this time of the day can be deceiving. There seems to be heaps of light about but the shadows are quite dark so there could be some moderately long shutter speeds, especially if I want an extended depth of field.

(If you’re a beginner and I’ve just lost you with that stuff about depth of field and shutter speed, ask someone on Light Stalking to explain it to you. They’re really good at that.)

In my part of the world, this time of the day always seems extra saturated with the colours and the tonal contrast is amazing. So, I take full advantage of this. It’s what I call ‘shooting for the conditions’. I can’t change the climate but I can learn to live with it.

My eyes immediately begin to search the landscape for places where this saturation and contrast brings out the best in the frame. Deep green shadows are avoided. Speckled light is hard to expose correctly so I move out into the open.

Botanic Gardens are designed. So it’s worth looking for vista’s, frames within your frame, and nooks that have been purposefully constructed to catch one’s eye.

The low angle of the Sun provides beautiful backlight, rimming the tree trunks and highlighting the foliage. I walk and watch towards the Sun. seeking out long shadows that can be used to lead the eye.

Foreground and background are important but it’s easy to clutter the frame with too much. To avoid this, I take full advantage of my walking shoes and seek the best perspective before shooting; always endeavoring to keep that sun in the background.

‘But shooting into the sun?’ I hear you say. With a bit of maneuvering, the sun can be tucked behind some foliage or a tree trunk. You will need to  watch that histogram for blow-outs (sorry, there’s nothing wrong with the tires on your car). If you’re not sure how to use it, read the Light Stalking article on how to read a histogram.

Go for detail in the shadows if you can and let the sun burn out a bit behind the trees. It gives a nice halo effect and gives the impression of a brilliant sunny day. But don’t overdo it.

Since it’s usually quiet this time of the morning there’s always an opportunity for a self-portrait. Seats are placed strategically among the trees for effect as well as rest, so include them in your shots.

Also look for those special plants, unusual textures, surprising angles and, of course, the obligatory close-up.

One thing I learnt from this trip was to watch where I leave my kit. This is the time when the gardeners are testing their sprinkler system. At least it saves me washing this week.

For some reason, Botanic Gardens are not heavily frequented by wildlife. I have more birds in my back yard. I did find a few grazing geese and a spider, but other than a stray dog and a dead cane toad, I was the only animal in the park – and even my zoological status has been questioned by some.

Now its time to finish up. You’ll have enough time to download this lot before settling on a nice lunch and a glass of Chard. Then prepare yourself for the midday run.

Thanks for joining me.

This is a guest post by Tom Dinning.

via Light Stalking » TUTORIAL: What’s your time of day? (Part 2) Shooting at Second Light.

 

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TUTORIAL: What’s Your Time of Day (Part 1)- Shooting at First Light

By tom dinning via Light Stalking

This is a guest post by Tom Dinning who, besides being a professional photographer, teacher and mini-celebrity in the Light Stalking community, has also shared some very popular tutorials in the forums and in other posts.

Recently I had a browse through my files to see if there was any consistency with the times of day I choose to take photographs for my own pleasures. To my surprise, there was an even split between early morning, mid-morning, midday, late afternoon and evening. Its good that I’m not a creature of habit.

I though it might be a good exercise to examine each of these times of day in terms of the photo’s  taken and the issues that arise during the preparation stage and the recording of the images.

So here’s the first.

EARLY MORNING – COAST

First Light. Nightcliff Beach NT

I’m not good in the morning so the first preparation for such an event is to psych myself up weeks in advance for a possible 4am start. The next bit of preparation is to prime Christine for the awakening for fear she may be expecting something more than a gentle kiss goodbye. She’s even grumpier than me in the morning.

High tide. Myilly Point NT

Since I want everything to be just right for such a monumental occasion I check the sunrise times well in advance. I’m also interested in the time for first light, since I want some preparation time when I arrive at my destination. My preference for the coastline means I need to check the tides. Low tide is best where I live. It allows access to the beaches. It’s also more visually interesting since there will be many isolated pools along the beach for those nice reflections. All the information you need with regard to sunrise, first light and tides can be obtained through the Bureau of Meteorology (BOM) website (in Australia) or the equivalent in your country. While you’re there, check the weather. You don’t want to be caught out in the rain, but a few clouds add interest to the sky.

Casuarina Beach NT

Checking the equipment the night before is part of the routine. Clean your sensor. Those funny little spots will show up against a clear sky at small apertures. Charge your batteries and take a spare. I’m not big on long focal lengths but that’s just me. I find myself using wide to mid-range (anything between 14mm and 70mm). A tripod is essential since you will probably be shooting at shutter speeds slow enought to write in your diary while taking the shot.

Tidal pool. Casuarina Beach NT

Getting there before the first glow of light needs a torch if you have some interesting ground to cover. It helps to find your way, locate things in the kit bag, provides a reading light for your camera knobs and dials if you haven’t learnt to find them in the dark yet, and, if its a big enough torch, it will fend off the dogs and muggers ( and the odd croc in my part of the world).

Casuarina Beach NT

It’s always good to check out the scene from a vantage point and grab a few shots to start with but usually I reconnoitre the spot a few days before so I know what I’m in for. Moving around in the dark in unfamiliar territory is risky for an old bloke like myself.

Rock outcrop. Nightcliff Beach NT

Shooting from water level creates great foreground for the shots. Look for items along the beach that might serve as points of interest. Watch how the light reflects from the water. Look for points of contrast as focal points in your frame.

This can be a time of solitude as well. Encompass that feeling and get it in the frame. Simplicity and the light is all you need to work with.

Casuarina Beach NT

Think in B&W as well. The tones will be subtle but worth capturing.

Little Watego’s Beach, NSW

Keep your shutter speed long enough to blur the movement of water. If the clouds are moving as well, all the better. You can get some great textures in the sky.

Rocks. Byron Bay, NSW

Reflections work well. Seek out the pools left behind. Walk around the pools to find the best angle. Get the best depth of field possible for these shots and make sure the foreground is sharp. If the auto-focus isn’t working its because it can’t find enough contrast in the scene to focus on. Switch to manual. When the going gets tough on focusing, I set the manual focus to about 2m and the aperture to about f:18. This seems to take care of most situations.

Dripstone Cliffs NT

As the light intensity increases, life and focusing will get easier. But there will be another issue to deal with. Exposure.

That sky will be about 6 or 7  f:stops over the ground exposure level. Your sensor will probably have a fit. Bracket and deal with it when you get home and have had your first cup of coffee.

Outcrop facing East. Nightcliff beach NT

In spite of the sand in your shoes and camera, wet feet from the incoming tide, the odd dogs dropping you stood in, a grumpy spouse to return home to and the need for a Granny Nap during the day, it should be worth every minute of your timely effort.

Low tide. Lee Point NT

If it’s not, take up knitting.

This is a guest post by Tom Dinning.

via Light Stalking » TUTORIAL: What’s Your Time of Day (Part 1)- Shooting at First Light.

 
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Posted by on May 26, 2011 in Composition, Featured, General, Landscape, Technique, Tutes & Tips, Worth a Look

 

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How to Use Natural Frames to Enhance Photographic Composition

By Light Stalking

In a lot of photographic situations, a photographer will often come across a natural object near the scene that can be used to “frame” the main element of the image. It’s a common photographic composition technique and one that can be used to great effect if you can pull it off. Here are a few things to think about when you next have the opportunity to frame your photograph as well as some examples of successful images that use framing.

Alcatraz - Exercise Yard Exit Door "Sailing Away"
Photograph by David Paul Omer

Keep in the back of your mind the common objects that can be used to frame an image naturally. The most common are trees and branches for landscapes, windows and doorways and tunnels and cave-openings. Of course, that is by no means an exhaustive list, but remembering these common objects gets you into the habit of considering less common things to frame an image.

I get the window seat!
Photograph by Ed Siasoco

Remember to use the frame to convey depth in your image. There are basically two main ways to do that. Colour and depth of field. The most common (though not only) way to use colour to convey depth is to have the frame in silhouette (or at least much darker than the main object of the image) such as the forest image below. That means that you need to expose for the background or main object of the image.

As the frame is a foreground, you also have the opportunity to either have it in focus with a narrow aperture or out of focus with a tighter aperture. The choice will very much depend on the situation, but remember to consider the options before taking your shot.

Our love is like the misty rain that falls softly, but floods the river...
Photograph by ManojVasanth

Potato Island

Photograph by Wolfgang Staudt

Don’t think that the frame needs to cover every side of the image either. Many of the most successfully framed images only have one or two sides framed (such as with a tree trunk and branch). On the other hand a fully framed image through a window or door can also be very effective. Use your own judgment.

Employ framing only when it suits the image. Don’t use a frame for every shot. It is easy to overdo framing, especially in a collection of shots from the same shoot. Use it sparingly and only when the opportunity for a good shot is there. Framing can look a little forced at times, so don’t fall into that trap, but don’t be afraid of it either. Again, this is one of the things in photography where every situation is different and you are best advised to use your own judgment.

no need for a frame
Photograph by Izarbeltza

Using a frame in your shots gives you an opportunity to draw the eye of your audience to the main element of the image that you want them to look at. By remembering a few basic pointers as well as always looking out for unique ways to frame images, you give yourself a much better chance of capturing a great photograph.

two Sides
Photograph by Robb North

via Light Stalking » How to Use Natural Frames to Enhance Photographic Composition.

 
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Posted by on May 23, 2011 in Featured, General, Landscape, Technique, Tutes & Tips, Worth a Look

 

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