BorisFX Demo w/Scott Kelby, Erik Kuna, Ross Shain & Colin Smith | The Grid Ep. 519
This week on The Grid, Scott Kelby and Erik Kuna are joined by Ross Shain and Colin Smith as they demo whats possible with the special effects software Boris FX Optics! Check out this software to see how it can help you take your work to a new level.
New KelbyOne Course: The Top 20 Lightroom Classic Questions Answered with Scott Kelby
Get your Lightroom Classic questions answered! Join Scott Kelby as he clears up the confusion and keeps you moving forward with confidence by answering the most frequently asked questions from the Lightroom Conference. You can watch through all lessons in order or just skip to the topics that you want to learn. Scott covers everything from catalog management tips to finding your photos to shooting tethered to solving common problems and so much more.
It’s #TravelTueday and I, Dave Williams, am here as always, this time writing from France where I’m on a mission in my van. I’ve just supported Epic Photography Podcast co-host Peter Treadway and his riding buddy, James Salmon, as they rode all the way from Trafalgar Square in London, England to the Eiffel Tower, Paris, France. They covered 217 miles over 24 hours and you can see some of their adventure right here.
My role was quite simple – they were on racing bikes and couldn’t carry luggage so I had all their things in the van and, because it’s such a long ride, I met them at pre-defined waypoints to top up their water bottles and feed them delicious snacks. I also filmed them riding so their was some external footage to go with the GoPro recording Peter was doing on the bike, which meant I was busy operating a camera or drone for their arrival and departure at each point. The cameras and the need to be back on the road almost immediately each time I stopped presented a challenge, which was that I also wanted to get some shots for the ‘live’ side of their social media, showing their progress visually with some cool shots. We all know that our iPhone camera does an amazing job now, but to make things look great and really step them up a gear it requires a little edit.
Cue Adobe Lightroom Mobile.
For all the shots I took at the meeting points, I quickly processed them and made some adjustments to the color and some other basic adjustments using Lightroom Mobile. This is something I do very often with the photos I post to my Instagram story, and it’s one of the best things I think has ever happened in mobile photography. The power of Lightroom Mobile in the latest version is phenomenal and it even brings in some of the Masking features that blew us all away in the desktop version.
The adjustments we’re familiar with from desktop are present in a toolbar at the bottom of our iPhone screen and Lightroom Mobile is very easy to use. The presets are a great starting point for any editing and in no time at all we can turn our iPhone shots into awesome images for an Instagram Story whilst we’re on the go. If you haven’t yet explored more of the world of mobile photography and Adobe Lightroom Mobile, give it a try.
Congratulations to Peter and Jimmy, this week’s models!
There is a lot of confusion about what Image Stabilization means and actually does, and UK-based photographer and writer Brian Worley (one of the leading voices out there teaching Canon-based photographers) has a fantastic article on the topic, and I wanted to share it today (it’s linked below). But beyond that – if you’re a Canon shooter and you’re not following Brian, you are missing out. I think he’s probably the single best resource out there for really getting to know your camera, and his blog (p4pictures) is outstanding.
Make sure to follow Brian on social (I do) and you’ll get a wealth of info (plus, he does in-person workshops on a regular basis). Also, a very cool guy (had dinner with him in London right before the pandemic).
Have a great Monday everybody – it’s going to be an awesome week!
I get this question a lot, and so I thought I’d share how I think about the two; how they are different, and when to use them. NOTE: these same two sliders are in Photoshop’s Camera Raw as well).
Both of these sliders enhance or bring out detail in the image, but they do it in very different ways. One isn’t really better than the other, because depending on the image, Clarity might look better on one, and Texture might look better on the next, or maybe a mixture of the two. It’s great to have the flexibility of having both, but here’s a look at how using them can affect the overall tone of your image.
When I want to bring out the texture in my image, but I don’t want it to mess with the overall tone too much (or mess with the fine detail areas of the image), I reach for the Texture slider. For example purposes, here I’m cranking up the Texture amount up way higher than I normally would (to +100). In the image you see above, the ‘Before’ photo is on the left, and the ‘After’ photo on the right has the Texture cranked up to +100. You can see that even though I cranked the Texture all the way up, the overall tone of the image is fairly similar. The medium-sized detail has been enhanced throughout the image (a bit hard to see at this size, but very obvious when you see it full size on your own images). That enhanced detail is especially visible on the buildings in front. Everything has more definition and detail, but nothing looks too crazy.
When I want to bring out detail, and I want things like metal, glass, or water to really “pop” I grab the Clarity slider. Here’s the Clarity slider cranked up to +100, and you can see how contrasty the image has become. The dark areas are much darker and the brighter midtones are brighter, too. The overall tone and color saturation of the image has changed quite a bit, and that’s because the Clarity slider enhances Midtone contrast (well, it does if you drag it to the right, anyway). The glass on the buildings looks much shinier and it really “pops” but look at the road to its right, and the sky — they’re all pretty dark and a bit grungy. If I increased the Shadow slider by the same amount, you’d swear it was an HDR tone-mapped photo.
The big takeaway here is how much Clarity affects the overall tone of the image (great when you want to get a gritty effect, or make metal, glass, and water shinier), while Texture doesn’t tend to mess with the tone nearly as much, but does a great job bringing out detail. Look at them side-by-side just above.
I also find that I don’t need to add as much Texture amount to bring out detail as I would with the Clarity slider. I don’t want to say it’s more powerful — maybe it’s just more sensitive. I also often use the two together by dragging the Texture up and then adding about 1/2 as much Clarity (so, if I were to drag the Texture amount up to 50, I would only add 25 or so Clarity if even that much). They do work nicely together.
Hope you found that helpful, and here’s wishing you a relaxing, fun weekend. Stay safe (it’s COVID-y out there).
P.S.I am super psyched – I’m getting to speak in front of an in-person event again! Next month I’m one of the speakers at the big NECCC Photography Conference up in Amherst, MA. The conference is July 15-17, 2022, and I’m teaching all three days, and a pre-conference session as well. Lots of great speakers, and tons of classes and events. Here’s the link to sign up (hope I’ll see you there)!
New KelbyOne Course: Landscape Panoramas and Timelapses with Erik Kuna
Take the mystery out of creating panoramas and timelapse movies! Join Erik Kuna out in the beautiful landscape of Arizona as he breaks down the essentials for creating breathtaking panoramas and captivating timelapse movies. Starting with no frills set ups, Erik teaches you the lingo, the gear, and the settings to make these creations come alive, as he builds on each lesson to increase your skills and your options.
In Case You Missed It: Demystifying Milky Way Landscape Photography with Erik Kuna
Learn how to capture breathtaking photos of the Milky Way with Erik Kuna! In this class Erik gets you up to speed on the gear you’ll need, the settings you’ll use, tools to help you plan your shoot, essential information about the Milky Way, and techniques to get tack sharp stars, all before heading out to some dark sky locations in the American Southwest. Erik wraps up the class with a review of some of the photos captured and some tips to help you move forward.
I cover all the different things to consider when choosing cameras and lenses for music photography. The biggest thing to consider when choosing a camera is ISO to noise quality ratio, meaning you want your photos to still look good even at super high ISO settings (like 6400 and above). Most shows will have less than ideal lighting, so you’ll be cranking your ISO up quite a lot to capture photos that aren’t super blurry. There’s also megapixels (you actually don’t want too many because it’ll slow you down!), frame rate (higher is better), mirrorless vs DSLR, and other considerations.
When looking at lenses, you want fast lenses (like f/2.8, f/2, f/1.8, f/1.4) if you can get them. Primes are going to be your best bet to get started on a budget, then you can consider upgrading to zooms that are f/2.8 or f/4 (but not above!).
Next, I cover breaking into your local music scene and practicing to improve your skills. The key here is building relationships with others in your scene, and finding ways to collaborate to make great photos. Once you establish yourself as part of the scene, you can build your portfolio! This is the key to the next step…
UNLOCKING THE GATE
Once you have a solid portfolio of images, you’ll want to build a website that you can point people to when you start requesting photo passes! Photo passes are your key to gaining access to photographing bigger shows. You’ll also need to be working for someone like a media outlet to give them a reason to grant you a photo pass. I cover who to request photo passes through, how to find them, and what to say in your request.
Lastly, I cover a variety of ways you can start making money with music photography! Top priority though is to be a good hang, and a kind, courteous person, even when you get “no” responses. Your reputation is key in this industry as everyone knows everyone!
I talk about considering all of the different audiences within the music world that you can offer your services to, as well as some different services you can offer. The key is being able to add value through your photography to their business and help them make more money, which makes it easier for them to say yes to paying you. I discuss licensing, stock sales, promos, prints, NFTs, and other topics as well.
I hope this post alone has been helpful, but if you’re interested in finding out more, check out my class and all of the others that were part of the conference right here!