Archive for the ‘Photography’ Category

Scene on the Street: Focus on street photography

Published by | Monday, October 31st, 2011

Street photography captures people at their most unguarded. There’s no posing, no preparation, and no encouragement involving the word “cheese.” Just point and shoot—often without even breaking stride.

Street photography is an honorable photographic genre that counts among its practitioners such legends as Henri Cartier-Bresson and Pedro Meyer. It’s a genre I’ve experimented with when traveling precisely because of its candid quality: If part of what makes a place is its people, then capturing unposed photos of those people is a critical part of documenting the essence of a place.

In Le Marais, Paris. Photo: Jim Heid

But street photography is also potentially controversial, and we’ve noticed a lot of blog and Twitter chatter about it lately. Part of the controversy deals with privacy: does a photographer have a legal right to photograph someone without his or her permission? The general guideline, at least in the United States, is yes, provided that the subject is in a public place where there isn’t an expectation of privacy, such as a sidewalk, a park, or a street.

Another part of the controversy deals with what I’ll charitably call bad manners. Some street photographers employ a paparazzi shooting style that involves putting their cameras uncomfortably close to a stranger’s face—sometimes even hiding around corners or behind phone booths before doing so.

Besides being rude, this style of street photography destroys exactly what the genre does best: capturing people at a moment when being photographed is the last thing on their minds. Look at some paparazzi-style street shots, and you’ll see photos of people who are startled, annoyed, or hamming it up for the camera. In all three cases, the candid, unguarded moment is lost.

The blog SnapSort recently published a post showing examples of how and how not to do street shooting. The lynda.com Creative Inspirations documentary about Richard Koci Hernandez also discusses the subject. Here’s an excerpt.

Since we shot that documentary, Koci has embraced Apple’s iPhone as a tool for street photography. A couple of weeks ago, he led photo walks through San Francisco and discussed iPhone photography at the 1197 conference in San Francisco. As one of the sponsors of the event, lynda.com was there shooting video for an iPhone photography course.

Deke’s Techniques: Creating filter effects with Camera Raw

Published by | Tuesday, October 4th, 2011

The first time you try them out, Photoshop filters can be sort of fun, turning your images into a pastel drawing or giving them a chrome effect. But as Deke points out in this week’s free technique, you’ll soon realize that many of these built-in filters are nothing you’d actually want to use. So instead, Deke has used a familiar tool to a surprising purpose this week, by using Adobe Camera Raw to create some filter-like recipes that result in usable effects. And you don’t need to use raw-format photos to make it work, either.

He begins with this image (shot by lynda.com‘s own Jacob Cunningham), which does happen to be a raw image to which Deke applies conventional Camera Raw processing in order to set his starting point:

For his first effect, Deke uses a negative Clarity value to reduce the edge contrast and a negative Vibrance setting to leach out the most vivid colors in the image. He then adds back some saturation to return the glow of the model’s skin tone.

Next, Deke takes the same image, and applies a bleached effect that’s centered around the application of a drastic temperature reduction. Who needs Instagram when you have ACR?

The third effect emulates old school cross-processing (as if you were developing one kind of film with a process designed for another) by adjusting the temperature and tone, then setting vibrance and saturation at odds. The result is this interesting effect:

The next recipe applies an etched effect, which gives our good-natured model an almost other-worldly look. This part of the technique involves tweaking the Recovery, Fill, Blacks, Contrast, and Clarity values.

Finally, because you’ve undoubtedly come to expect extremes from Deke, he’ll show you how he used the Tone Curve to set the different levels inside the image at extremes with one another, resulting in this stark treatment:

Five photo-processing filters in under nine minutes. And all along, you’re applying your effect to duplicates of an original smart object, so everything is non-destructive and you can riff off of Deke’s ideas without harming your original image.

And if that’s not enough, members of the lynda.com Online Training Library® can view another new movie in which Deke shares his sixth and most outrageous filter effect inside Adobe Camera Raw. It’s Deke—you can occasionally question his taste but never his talent. And you never know what the inspirational effects of going over the edge might be.

Every week, there’s a free techniques from Deke!

Interested in more?
• The entire Deke’s Techniques collection
• courses on Photoshop in the Online Training Library®
• courses by Deke McClelland in the Online Training Library®

Deke’s Techniques: Capturing your (mythological) monster in motion

Published by | Tuesday, August 9th, 2011

This week, that ever-wily Deke thinks of an ingenious way to cover your Photoshop tracks. If you recall, last week’s techniques (both the free movie and the members-only video inside the Online Training Library®) were about combining photos of three real-world creatures to create one other-worldly one. But as we all know, no missing link photo is ever going to be credible if it’s not noisy, blurry, and oddly exposed. Turns out, the key is to actually shoot an unstable picture of your Photoshop screen with your camera, then add a few more helpings of weird exposure (inside Camera Raw), grain (the noise filter in Photoshop) and more blur (of the Gaussian variety).

Here is Deke’s final photo-documentation of his pseudo creature:

Editor’s note: Deke’s creature was so elusive that I had to experiment using the technique on another mysterious creature “captured” in its natural environment. For my particular version, I used my iPhone set to HDR mode, pointed it at my screen where I’d paused this week’s video, and twirled the phone to make the motion. Still scary, I think. 

Every week there’s a new free technique from Deke. And next week we’ll move from this uncommon creature to a very ordinary Photoshop task: changing the color of a car. And as normal as that sounds, even the everyday task requires good technique. Find out Deke’s technique next week.

Deke’s Techniques 
courses on Photoshop in the Online Training Library®
courses by Deke McClelland in the Online Training Library®

Deke’s Techniques: Making a fictional creature with Photoshop

Published by | Tuesday, August 2nd, 2011

Big Foot, Loch Ness Monster, Tigerilla. Sometimes, when you let your imagination run away with you, you learn some really useful Photoshop techniques in the process. This week, Deke delves into cryptozoological pseudo-documentation—that is, Photoshop put to use to create false evidence of a non-existent creature. Why, other than trying to spice up your vacation photos with fake monsters, would you want to do this? Well, first, mixing this gorilla, tiger, and cute little puppy is an exercise in mind-expanding creativity:

Tiger-Gorilla-Puppy

And more practically, in this week’s free movie from Deke’s Techniques, you’ll see how to carefully use Photoshop’s healing brush in order to mix key features of these three animals to create something wholly other.

Tigerilla

Learning how to heal from one layer to the next, with proper alignment, is a skill that’s bound to take you beyond the creation of fake evidence for your tall tales. And for members of the lynda.com library, Deke’s got an exclusive video in the Online Training Library® this week that shows you how to transform your cryptid creature into something even wilder. Next week, he’ll show everyone how to further fake the evidence of this fierce (but sweet-eyed) being. (Because no claimed Tigerilla sighting is going to work without a properly blurry photo.)

Every week, there’s a free technique from Deke.

Deke’s Techniques 
courses on Photoshop in the Online Training Library®
courses by Deke McClelland in the Online Training Library®

 

Deke’s Techniques: Shooting and assembling a stereoscopic photo

Published by | Tuesday, July 5th, 2011

In this week’s free Deke’s Technique, you’ll see how to create a classic anaglyphic stereoscopic 3D image in Photoshop. Anaglyph images are created by superimposing two slightly different perspectives of the same scene, with each version seen by only one eye or the other, resulting in a sense of depth when your brain fuses the two images into one. In this case, Deke shows you how to create an image intended to be viewed through the old-school red (left) and cyan (right) glasses.

In order to achieve this classic effect, you have to first correctly shoot a pair of images with a slightly shifted perspective, like the ones shown below shot by lynda.com’s own Jacob Cunningham. You can see in the top two images (each with a simulated filter applied), slightly means slightly—as in the distance between your two eyes. Then the two images are placed on separate layers in the same file, and the color channels are turned off so that each of your eyes (with the requisite glasses on) sees a slightly different image. Then, your brain does the rest.

If that’s not enough depth for you, lynda.com members can see an exclusive video in the Online Training Library®, in which Deke (again with the help of Jacob) demonstrates how to create a stereoscopic image with an object projecting out beyond the screen plane.

So grab your cardboard glasses and come experience Deke in 3D! And come back again next week for another free (3D) technique from Deke.

Related links:
Deke’s Techniques
courses on Photoshop in the Online Training Library®
courses by Deke McClelland in the Online Training Library®

Douglas Kirkland and Gerd Ludwig discuss photography, business, and Chernobyl

Published by | Thursday, June 30th, 2011
Photojournalist Gerd Ludwig at his home in Los Angeles (Jim Heid photo).

Photojournalist Gerd Ludwig at his home in Los Angeles (Jim Heid photo).

Successful photographers must combine their creative passion with the ability to evolve along with the industry—and the economy. That’s just one of the messages in our new course, Douglas Kirkland on Photography: A Conversation with Gerd Ludwig.

In this latest installment of his series, Douglas visits his friend Gerd Ludwig, a photojournalist best known for his work in National Geographic magazine. Ludwig has taken a special interest in Russia and the former Soviet Union—in particular, the people and stories surrounding the Chernobyl nuclear power plant.

Ludwig has photographed Chernobyl several times over the years. He wanted to return to document the conditions there today, but support from the traditional publishing industry wasn’t there. So he turned to the crowd—specifically, to Kickstarter.com, the crowdfunding website. He created a project proposal containing text and video descriptions of his project. He raised more than $23,000 from 435 backers and in March, he departed for Chernobyl.

Douglas visited with Ludwig in his home on the day before he left, and the course includes a tour of his gear and a look at how he packs for an expedition. When he returned, he and Douglas met in our studio to look at Ludwig’s photos and talk about Chernobyl today.

Capturing the conversation between Douglas Kirkland and Gerd Ludwig (Jim Heid photo).

Capturing the conversation between Douglas Kirkland and Gerd Ludwig (Jim Heid photo).

On his latest trip, Ludwig also shot video in the depths of the poisoned reactor using a tiny video camera strapped to his protective helmet. As he says after he and Douglas watch the footage, video is “the new work of a photojournalist or documentary photographer.”

And Ludwig’s photos? They’re powerful and moving visual essays on the nightmare of Chernobyl and on how the area is being changed by residents who have moved back, and, incredibly, by tourists who visit to take photos.

Douglas Kirkland on Photography: A Conversation with Gerd Ludwig is a bit of a departure for us, a combination of instruction and inspiration. We hope you’ll watch and let us know what you think.

Deke’s Techniques: Putting wings on a horse

Published by | Tuesday, June 21st, 2011

In this week’s free episode, Deke gives you wings. Well, he gives a horse wings. In truth, he gives a horse wings that formerly belonged to a goose. No matter—the bottom line is that you end up with your very own mythological creature. This week in Deke’s Techniques, you’ll learn how to use Photoshop to mask complex creatures and create silhouettes from real-world photographs. In Deke’s example, here are the two photographs that eventually make up the composite image:

We’ll start by applying some contrast-controlling adjustment layers to begin the process, then use some old-school brushing techniques to turn the contributing creatures into crisp silhouettes. The result is this magical creature:

Although the end result is (artistically speaking) a silhouette, in truth it’s a mask. And masks can be infinitely useful, way beyond your species-mixing fantasies. If you’d like to learn more about masks from Deke, check out Chapter 26 of Deke’s Photoshop CS5 One-on-One: Mastery course. You’ll also learn how to use the pen tool to solve problematic masking challenges. You can take a more in-depth look at how to master the pen tool by checking out Chapter 27 of the same course.

Every week, there’s a new (and free) technique from Deke. And lynda.com members can see the entire collection here, along with some exclusive members-only techniques.

See you next week!

Related links:
Deke’s Techniques
courses on Photoshop in the Online Training Library®
courses by Deke McClelland in the Online Training Library®

Deke’s Techniques: Removing people from photos with image stacks

Published by | Tuesday, May 31st, 2011

Have you ever wanted to capture a pristine photo of a famous location that was unmarred by the presence of other people or random objects? Imagine the Golden Gate Bridge with no cars or the Piazza San Marco with no tourists. This week’s Deke’s Techniques shows you how to simulate that kind of exclusive access using the image stacking capabilities of Photoshop CS5 Extended. In this free video, Deke McClelland shows you how he removed a pesky tourist from his shots of a famous theater by aligning multiple shots, turning all those layers into a single smart object, and then applying a median calculation to remove his fellow traveler (not to mention an inexplicable floating orangutan head) from the scene.

In Deke’s case, this pesky woman was walking across the railing at the Theatro Olympico in Vincenza, Italy while Deke was trying to capture Palladio’s amazing forced-perspective set. (Here he actually used a variation technique to show you all four of her positions at once!)

And without having to rely on a single mask, he managed to remove her by simply asking Photoshop to do the math, and ended up with this result:

During the course of the video, you’ll also learn some of the other calcuations that Photoshop Extended offers up. You’ll also see how to troubleshoot remnant artifacts if your calculations don’t do the job satisfactorily. (And as a bonus, you’ll get a beautiful view of this gorgeous, 16th-century forced-perspective theatre designed by the famous architect, Palladio.)

Every week, Deke offers up another handy free technique for you to use in your own projects. And lynda.com members can also access exclusive videos from Deke as well. In fact, this week, he’ll show you how he turned the crowd in Piazza San Marco into a compelling set of ghostlike figures. Try it out and see what kind of serious power it gives you over your photographic surroundings!

And join us next week for another free technique from Deke. Ciao, fellow Photoshop travelers!

Related links:
Deke’s Techniques
courses on Photoshop in the Online Training Library®
courses by Deke McClelland in the Online Training Library®