It’s “Photo Tip Friday” and photographer Rick Sammon is rockin’ it in this super quick video with five great tips for bird photography in just one minute (actually, just 54-seconds), but they are all right-on-the-money tips. Check it out!
How ’bout that!!! Thank you, Rick! (here’s the link to his class he mentioned at the end of the vide).
Thanks to everybody who attended the Wildlife Photography Conference
We had a fantastic turnout (way more than we were expecting, which is awesome!), and we had such a great group of folks. Thank you SO much to everybody who spent a few days with us (and who came to my sessions on organizing your wildlife images in Lightroom, and printing your images out of Lightroom). We’re very grateful (and we sure had a ton of fun).
Wildlife photographer Scott Bourne was one of our fantastic instructors for the conference, and he tweeted this about the event:
Thanks for the kind words, Scott, and thanks for helping to make the conference rock!
Have a great weekend, everybody. Stay safe and I hope to see you here again next week. :)
You’ve undoubtedly heard of Peter Hurley as the king of headshots, but there’s so much more to his story than that. From his early days as a competitive sailor to his modeling career to how that led to him having another career on the other side of the camera, join Kalebra as she sits down with Peter for an hour of insightful conversation about his life choices, pivotal moments, and his continued love of sailing.
In Case You Missed It: How to Get Started in the Headshot Business
Everybody needs a headshot, shouldn’t you be the one to take it? Join Peter Hurley as he teaches you how to get started in headshot photography! Peter has been making his living as a headshot photographer for 18 years, and in this class he gives you a game plan for getting started, goes over different lighting set ups for a range of budgets, shares his tips and techniques for making clients feel comfortable from the moment they arrive through the end of the shoot, and shows you his streamlined workflow for putting it all together. Don’t let fear hold you back! Use your talent and skill to give people the gift of a beautiful photo of themselves.
On Building Safe, Equitable and Inclusive Photography Sets
For about the last half decade, there’s been a lot of talk about diversity and inclusion in the photo industry, and primarily, these discussions tend to crop up after reported incidents of toxic workplace, sets, and individuals in our industry. I’ve found, as a Black photographer, these industry wide discussions don’t often enough turn into action that encourages the real life practice of building equitable, safe, and inclusive sets and workplaces, and that’s primarily because we all have to commit to doing the work of creating equity and safety while also setting an example for embracing inclusion.
One thing we seem to have difficulty understanding in these conversations about equity and inclusion is that diversity isn’t something we do. Diversity exists already in our society — human beings come in all colors, sizes, genders, sexualities, and abilities— but the real issue is the exclusion of folks who are marginalized in our society and, as such, in our industry as our workplaces often reflect the biases of the large society in which we work and are a part of.
Exclusion happens in a myriad of subtle ways that we have to consider when hiring for crew on projects, from newspaper assignments to large, commercial photo shoots: who typically has access to jobs, by way of arts institutions, family connections, and other pipelines in our industry that allow for the easy of exclusion of folks who may not have gone to prestigious art schools or programs, or who don’t have access to familial or other social connections in the larger photo industry? What about the folks who begin their careers later in life, without formal photographic training?
Once I was able to articulate this idea to my clients, it became clearer to them that inclusion was the goal we were after.
In my thirteen year long career, I have often always been the only Black person on set and that’s why inclusion is a priority in my larger photographic practice. It’s why I make it a priority for my clients when approached for assignments and commercial bids. The primary challenge of being The Only One is that the idea reinforces stubborn and incorrect ideas that there are not enough talented Black photographers— or other photographers of color, or women, or queer or trans folk, or differently abled photographers— to hire for photo jobs.
This also means that my work is regularly devalued and overlooked.
These sorts of hurdles are reinforced by systematic inequality and racism in our larger society, which makes it increasingly difficult to build the sort of career many of my white colleagues can often take for granted. When opportunities and resources are limited, it means career choices and trajectories are equally limited.
I decided since I understood very clearly and personally the challenges of being The Only One, I would find ways to build equity and champion inclusion while also building my career: I would hire as inclusively as possible for every single one of my commercial jobs.
I knew I had to begin to fashion the environments I wanted to see and be a part of. I wanted to show clients, in real time, what it looked like working on inclusive sets, and show them that the quality of the work didn’t suffer because everyone was given a seat at their tables. Slowly but surely, when bids and commissions came my way, clients often mentioned hearing about these inclusive sets, how the atmosphere of collaborative team work was so impactful on morale and overall final product, that they wanted to experience it for themselves.
Dave Williams here, and it’s #TravelTuesday again! I’m working hard on a project right now (clues on my Instagram), and it’s occupying a lot of my thoughts, but in between those thoughts are dreams of the adventures I’ll have once the ‘rona situation is over. One of my favourite kinds of places to have adventure is among mountains, so today I want to share some hot photo tips for shooting in the mountains.
First off, a mountain photo doesn’t have to show the entire mountain. Cropping in on a feature of the mountain, like this awesome waterfall in Norway with the light dispersing into a rainbow through the mist, is a way to show off a part of the mountain without showing the whole thing.
Next up is scale. Mountains are huge by their very nature. Showing the sheer, gargantuan size of these behemoths by including a recognisable feature, such as a person, a building, or a vehicle, really shows off their size.
Sunrise and sunset in the mountains are different. I’m not just talking about how it’s awesome, but it actually is different. The horizon is displaced somewhat, so the sun doesn’t breach the horizon as it does on a flat earth. If there’s a mountain to the east, sunrise will be slightly delayed. If there’s a mountain to the west, the sunset will be earlier. We can play on this by shooting the light hitting the opposing face, or the rays soaring over the mountains, but we need to bear it in mind so we can be in the right place at the right time.
Silhouettes can really show off the shape of a mountain and using compositional methods we already know, such as the rule of thirds, diagonal lines, and others, we can turn out some great shots of entire mountain ranges silhouetted against a nice sky.
And to wrap up this week’s post, my top tip for mountain photography is to get on top of it! Climbing mountains, whether they’re enormous alpine wonders or simple, gentle lumps of granite, is a great achievement and gives us a great feeling, as well as some great photographs.
With that, I’m going back to my project and I’ll catch you all again next week.
When I first heard about Photoshop’s (well, Camera Raw’s) new “Super Resolution” feature, and its ability to let you scale up your image up to 4-times its original size and have it look just about as good as original, I was really skeptical, but I have to admit — this thing is legit! It’s powered by AI (using Adobe Sensei technology), Machine Learning, and some Adobe engineering magic, and folks, I’m tellin’ ya — this here’s a game changer.
Think about what this means — shots from my new 21-megapixel EOS R6 now can rival the resolution of an 80-megapixel medium format digital back. You can take a standard 12-megapixel iPhone camera shot, and make it essentially a 24-megapixel shot with a click of a button and it looks as if you shot it at that size. You can take it up to a 48-megapixel shot with a 2nd click or two. An iPhone shot. That’s crazy!
Now you can crop in on your image like crazy and not lose a ton of resolution you’d need, and you can make huge prints without losing quality getting it up to the larger sizes. This is bonkers (in the best possible way).
Best of all, it’s incredibly easy to use
Here’s how to use it:
STEP ONE: Open your image in Photoshop’s Camera Raw plug-in (It can be a JPEG, TIFF, PNG or RAW), then right-click anywhere within your image and from the pop-up menu that appears, choose Enhance (as shown above). You can also get to this pop-up menu if you have the filmstrip open — just click on the little three dots in the top right corner of the thumbnail. of the image you can to Enhance
STEP TWO:This brings up the Enhance preview window shown above, where you’ll click the “Super Resolution” checkbox (as seen above) to use this new feature. You get a really zoomed in tight preview of a very small section of your image on the left side of the window. You can change the location it is zoomed in one by just clicking on the area you want magnified by clicking on your actual image (not inside this preview window — out on the full size image itself). It’s showing you the “after” image.
Above: if you want to see a preview of what your image would look like doubled in size without it working its AI magic, click and hold inside the preview on the left and you get the “Before” view (without the enhancement). Look at how much blurrier this enlargement would be without this AI-based technology.
It give you an estimate how long it will take to double the size of the image so you’ll know if you have time to run to Starbucks (you don’t by the way).
STEP THREE: Click Enhance and it creates a copy of your original image, but at the bumped up doubled size. This is the image doubled in size (I know — it’s about impossible to tell much at these small size here on the blog), but in comparing it to the original, it looks just about the same, or maybe a tiny bit sharper, and that is just pretty incredible. Like I said, game changer when you need more resolution or a larger size for print.
(1) This feature works on JPEGs and TIFFs, but Adobe says that essentially the better quality the file you start with, the better quality you’ll get from Super Res, so it helps to start with a RAW image.
(2) If you want to go to 4x your original size, you’ll need to open the copy in Photoshop; save this 2x copy; Re-open it in Camera Raw then run the feature again on this saved copy (you can’t just run it again in Camera Raw without opening it and saving it again).
(3) Adobe has announced that this feature is also coming to Lightroom Classic and the cloud version of Lightroom soon, which is awesome.
(4) You can apply this upsizing to multiple images — just make Camera Raw’s filmstrip visible; select the ones you want, right-click on any one of them and choose Enhance.
(5) You can bypass the “Enhance” window altogether by holding the Option key before you choose Enhance from the menu, and it will just apply it.
This is pretty incredible all the way around, and the results are truly amazing. Does this make the need for high megapixel cameras less necessary? It seems so at this early stage, but we’ll see how this all develops, but I’m really jazzed that this feature is now available to us, and I imagine we’ll see people doing some crazy things size wise with it very soon.
The Wildlife Photography Conference kicks off Tomorrow
…but it’s not too late to join us. In fact, even if you can’t join us the next two days for the conference, if you sign up now you get access to the entire online conference for a full year so you can stream any of the sessions on demand. How cool is that! Tickets and info right here (it kicks off today with a special pre-conference session from Moose Peterson on “What makes a great wildlife photo”).
Here’s wishing you a great week, and I’m looking forward to answering some of your questions in my live Q&As over the next few days at the conference. We’ll see you there. Stay healthy out there! :)
Great video today from the awesome Terry White on all the new stuff Adobe snuck into the new update for Photoshop’s Camera Raw. Terry is so great at this stuff — totally worth checking out (and there are some very welcome new tweaks to Camera Raw this time around — some of which I hope will make it to Lightroom soon).
Thanks, Terry! :)
I’m the Guest on this week’s Dead Pixel Society Podcast
We talk about everything from how the iPhone is affecting the camera industry to how the pandemic has effected working photographers (and more). Lots of fun (and you can let it play in the background). Thanks so much to Gary Pageau for having me on. https://www.buzzsprout.com/964492/8119236
It’s Lightroom “Photo Tip Friday”
If you’ve got a sec, jump over to my other blog, “LightroomKillerTips.com” to check out my short (60-seconds) Lightroom tip on creating a spotlight effect right within Lightroom. It’s pretty cool (and so easy). Here’s the link.
Next week, it’s the “Wildlife Photography Conference”
It’s next Tuesday and Wednesday (with an optional free pre-conference session the day before), and it’s not too late to come join in the learning and fun. Here’s the link for more details and info, and I’m putting the official trailer below (ya know, just in case).