Monthly Archives October 2020

It’s a great day for some ACR tips — let’s go!

(1) Putting a Black Frame around your image preview

This is one of those features that Adobe kind of snuck into Camera Raw while nobody was looking, but you can choose to have a thin black stroke around your image, or not. You choose it by right-clicking on your image and from the pop-up menu that appears, under ‘Background Options’ choose Draw Image Frame (as shown here) to add that black stroke, or uncheck to see your image from now on without it. 

(2) Automatically Resetting the Adjustment Brush Sliders

If you use the Adjustment Brush and you move a lot of sliders (which we tend to do) you can have Camera Raw automatically reset all those sliders when you’re done, so the next time you come you back here, all the sliders are set back to zero. All you have to do is turn this feature on: At the bottom of the Adjustment Brush panel you’ll see a checkbox for ‘Reset sliders automatically.” That’s the one, and now when your sliders are all over the place (like you see below center), and you come back to the Adjustment Brush, they’ll all be reset to zero (like you see below right).

(3) Easy way to brighten your subject’s skin

Just head over to the Color Mixer panel; click on the Luminance tab up top, and then drag the Red and Orange sliders to the right to brighten your subject’s skin. Works like a charm. 

(4) Adjusting Your Histogram

If you know what part of the Histogram you want to adjust, but you’re not sure which slider affects that part of the Histogram, you can click and drag directly within the Histogram itself — right on the area of the Histogram you want to affect, and drag it left or right. Doing this will automatically move the proper slider which controls that part of the Histogram.  

(5) How to save your own custom default settings for the Adjustment Brush

To set your own custom settings for brush Size, Feather, and Flow, open an image; set the sliders where you want them to be as your new defaults, and then instead of opening the image, just click the ‘Done’ button. Now, those settings are your new defaults, and when you open other images, those custom settings will already be in place. 

(6) Got too many presets? Here’s how to manage your collection

Go to the Presets panel and right-click inside the panel, and from the pop-up menu that appears, choose Manage Presets (as shown above).

When the Manage Presets dialog appears (above), you can turn off any collection of presets you don’t often use, and they will be hidden from view. It doesn’t delete ‘em, it just hides them from view. 

(7) Change The Background Color Outside Your Image

Here’s one to try — zoom out until you see the gray areas around your photo then right-click anywhere within that gray area and from the pop-up menu that appears, choose whichever shade of gray you’d like (the Medium gray you see here is much lighter than the gray default background).  

(8) Only See The Before/After View You Want

If you want to see a side-by-side before/after of you edits, you can press the letter “Q” on your keyboard, but each time you click Q it toggles through another different before/after view, including split screen, top/bottom, etc. (there’s four in all). Personally, I only want the side-by-side before/after and I don’t use any of the rest, but luckily you can turn off the ones you don’t use, so you wont’ have to toggle them any longer to get back to the regular view. Here’s how.

Press “Q” to enter before/after view, and then click and hold on the icon on the left (its icon looks like a square on one side, then a vertical line, and then a triangle). This brings up the pop-up menu you see above. Click on Preview Preferences (as shown above).

Now, where it says ‘Cycle Preview Modes’ on the left side, uncheck any views you don’t want to see, and then click OK. For the one I set up above, now I’ll only see a side-by-side before and after when I press Q. When it press it again, it turns to Single View (the normal view).

(9) When to turn off the Adjustment Brush’s Auto Mask feature

When you’re painting with the Auto Mask checkbox turned on, you’ve probably noticed that the brush moves slower, and that’s because Auto Mask is trying to determine if there are any edges underneath where you’re painting (so it doesn’t stay off target). However, when you’re painting over something like a large sky, it keeps slowing down for clouds and stuff you probably want to paint over, so anything you’re painting over a large area, I’d turn the Auto Mask checkbox off until I get near the edges of important areas; then I turn it off to do the detail work. Think of it like painting a wall in your house with a roller, but then switching to a detail brush for the trim. 

(10) Things running a bit show? Try turning this off!

If you’ve made some adjustments to your image, and then decide you want to “Start Over” from scratch; if you hold the Option key (Alt-key on PC), it changes each panel’s name to “Reset” (so the Basic panel would become “Reset Basic” and clicking on that resets that one panel. Well, what if you’ve changes edits in lots of panels Then instead, to get back to the way your image looked when you first opened it in Camera Raw, click and hold on the three dots at the bottom of the toolbar along the right side and from the pop-up menu that appears choose “Reset to Default” as shown above.

Hope you found those helpful.

Just 18-Days ‘Till “The Flash Photography Conference”

It’s two-tracks (one for flash beginners that I’m teaching and one for intermediate to pro level photographers featuring the King of Flash, the one and only Joe McNally), two days, and it’s live online. It’s going to be epic and you don’t want to miss it. Coming November 17-18, 2020. Tickets and details here.

Have a safe, happy, fun weekend everybody!

-Scott

The Grid: With PS’s New Power: When Does Photo Become Illustration? – Episode 449

Photoshop has been updated with all sorts of new features, including Neural Filters that allow you to greatly change and control your subjects’ facial expressions, age, and more. With this new power at our fingertips, at what point does photography drift into the world of illustration? Join Scott Kelby and Erik Kuna for Episode 449 of The Grid for their thoughts on this!

New KelbyOne Course: Blend Like A Pro In Photoshop with Glyn Dewis

Take your Photoshop blending game to the next level! Join Glyn Dewis as he takes you step-by-step through his favorite techniques for blending layers, creating cool lighting effects, using textures, matching colors, and so much more. The sky’s the limit, and once you get a solid foundation in blending you’ll be able to experiment with new techniques on your own!

Editor’s Note: This interview was conducted by KelbyOne instructor Mark Heaps. Thanks for making this happen, Mark!


How did you get started?
In the mid 80’s, Steve took a photography class at a local community college, and I (Karen) took a photography class in high school. So with really no experience, just enough to be dangerous, we decided as couple, in our 50’s, that we would like to do photography as a hobby to spend time together.

We started out doing senior pictures, two weddings, and engagement pictures for friends and quickly realized that type of photography wasn’t inspiring us. We wanted to do something different but didn’t’ t know what that was. While looking at artists on the internet we discovered Brooke Shaden and instantly we felt like, “this is what we want to do.”

After researching her work, we discovered it used a lot of Photoshop. So, we contacted Precision Camera, our local photography store, to find out about taking Photoshop classes and we were connected with Mark Heaps, a KelbyOne instructor, and the journey began.


Your work is filled with these amazing characters. Are these professional models?
We do not use professional models. All our images are of people that live in and around our community. We will see someone in the grocery store, at a restaurant, or just through friends and ask them if they would like to be in one of our images. I would say 99% of the time, these total strangers, say yes…if you ask them.


You seem to have these deep intimate moments with strangers, can you tell us just one story about that?
When we are planning a project with someone new, we meet with them to talk about their life and events that have impacted them that could be used for a photo.  

(more…)

It’s #TravelTuesday again—doesn’t it come round quickly nowadays? I’m Dave Williams and I’m here to impart some of my bountiful wisdom, gleaned from years of travel photography. You can find me on my website or Instagram if you want to see a little more, or go behind the scenes on my top-secret Instagram account, too.

Today, I want to explore the topic of noise. Now, I’m not talking about my terrible singing, I’m talking about sensor noise. We all hear about noise in images and it’s often regarded as a terrible attribute that we should avoid at all costs. Although there is some truth to that, it is not as important as it’s made out to be. Here’s the deal: –

Us photographers are a very particular breed of human. We tend to be very tuned in to detail, sometimes so much so that we become perfectionists and notice all the little details—not only in our images but also in life. One of these details is, of course, noise. Image noise is a topic that constantly pops up. We constantly strive to get rid of it and employ many techniques—longer exposures, lower ISO, stacking, and even post-process filters. Well, I just got back from a trip to Norway shooting all manner of coldness and one of my images from the trip is this one of the Aurora.

The noise in the image is all over. It’s so dark, despite the glow of the northern lights dancing overhead, that this image (shot at 6400 ISO with a 15-second exposure time) is packed full of noise. But, is it the noise that a “regular” person sees at first glance, or is it just the composition, colour, and subject? The answer is the latter.

Camera sensors are becoming better and better, almost by the day. The ability to shoot at higher ISO with less light and achieve less noise is remarkable. That being said, consider the fact that there’s a grain slider in Adobe Photoshop whereby we can add grain or noise to our images. It’s true to say there’s such a thing as too much noise, but it’s also true to say that noise can add to an image, in particular when we want to convey a romantic, old-world feel. Grain comes as a feature of film, which has carried over into digital photography, and replicating a film look is something highly desirable by many.

Having a clean and crisp image is all well and good in terms of technicality, but consider that photography is an art and it’s the imperfections that add to an image. It’s far, far more important to achieve a good composition of an engaging subject and end up with a photo containing noise than it is to get a technically perfect photo with no artistic features. To that end, I implore you to move the matter of image noise from your list of priorities and keep it as a secondary thought.

Much love
Dave

Every Friday on KelbyOne’s Facebook and Twitter accounts we post another quick 1-minute “Photo Tip Friday” video from our KelbyOne instructors, and I know this isn’t Friday, but since I missed my chance to share these on Friday, please just consider these three awesome tips from Glyn Dewis, the first “Photo Tip Monday.” ;-)

If you’re digging this stuff, Glyn has a bunch of awesome classes on KelbyOne, and his latest — on Photoshop selections, is absolutely brilliant. I’ll put the trailer below, but here’s the direct link if you want to start watching it right now.

The Flash Photography Conference is just three (or so) weeks away

I’m putting the trailer here (below) in case this is the first time you’re hearing about, but hundreds of photographers from all over have already signed up for The Flash Photography Conference (featuring Joe McNally), and you don’t want to miss out. Tickets and more details here, but make sure you check out the trailer first to see what it’s all about.

Here’s wishing you a safe, fun, creative week!

Cheers,

-Scott

The Grid: How Would I Edit Your Photo? Episode 448

Ever wonder how Scott Kelby would edit a photo you took? Well, here’s your chance to find out! Join Scott, along with Erik Kuna, as he edits viewer submitted photos from beginning to end in Lightroom and/or Photoshop.

Black and White Photography: Today and Yesterday with Serge Ramelli

Look back at the great B&W landscape photos of the past to become inspired about creating strong B&W photos with Lightroom Classic. Join Serge Ramelli as he explores some of the great work produced by Ansel Adams, and discusses what makes those photos so powerful and timeless.

Taking inspiration from that work, Serge brings a photo of his own into Lightroom Classic and demonstrates the tools and techniques he uses to convert raw color photos to dramatic B&W images. Serge wraps up the class with a start to finish workflow example to see how you can apply the same techniques to your photos.

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