When Scott asked me to pen a guest blog, I was honored and thankful to have such a great opportunity to reach so many passionate users of our application… Then I realized I’d have to constrain my piece some and focus it on a particular room in the funhouse that is Photoshop. I feel the same way when I’m demoing; whether I have ten minutes or two hours, it never seems to be enough time. So I’m going to attempt two things here; one, to deep-dive on some new technology that I haven’t seen thoroughly explored, and two, to let this post be a launch pad towards some great resources for information and technology related to Photoshop.
Of the many twists and turns that Photoshop has taken over the course of my (nearly) 10 years on the team, none have been as interesting to me as those related specifically to photography. My background is behind the lens and it’s my love for the medium that first drew me to Adobe. Being mindful of photographers and the applications we provide for them, today I want to focus on two features whose powers can be tapped directly from Bridge CS4, Lightroom 2.0 or from within Photoshop CS4 itself.
We are very excited to have JoeyL as our guest blogger today!
WARNING: If you’re familiar with Joey’s work, you know that he travels all over the world photographing many different cultures. His post today contains some National Geographic-y type images of natives, and since these natives don’t tend to overdress, there are a few images where the natives have exposed breasts. If you’re sensitive to seeing these types of images, then please don’t click the “Read the Rest of this Entry” button below. Even more importantly, now that you’ve been warned up front, don’t post complaints about the images (I’ll just delete them). Now, here’s JoeyL!
Dustin Snipes is a full time staff sports photographer and part-time Red Bull drinker in Los Angeles, Calif. When he is not taking photos (or drinking Red Bull) he spends his time watching reruns of “How I Met Your Mother.”
For the last few months, people have been asking me about the post-production involved in the photos on my blog post “70 basketball portraits I did in two days.” I always planned on sharing it with everyone but just haven’t had time to put anything together until now. Recently, I was asked to do a guest post for Scott’s blog and thought, “What better way to share this Photoshop tip with everyone than on Mr. Photoshop himself’s blog, Scott Kelby?” I was pretty giddy, to say the least.
It’s actually a pretty simple process that has a few steps to get this “look” (and it’s not LucisArts or HDR :) ).
There is one thing you must promise me–and yourself–before reading this post. Repeat (or read) after me:
“I, (state your name, or clever web user ID) will not overuse this technique on EVERY photo I take. I will only use it in moderation.”
Greetings! My name is Chris Orwig , and I’m a photographer, interactive designer and educator. I whole heartedly agree with the acclaimed French photographer Marc Riboud who says, “Photography is about savoring life at 1/100th of a second.” And it is true, isn’t it? Photography enriches, enlivens and expands how we think, what we see and who we are. Photography helps us live more fully, more completely. Having a camera in hand does make a difference. Yet, throughout one’s photographic journey, there are seasons when our passion and vitality dwindles. That’s why we read blogs like this. We’re looking for a bit of straightforward information and inspiration that will further us along. In light of that, here’s a post devoted to providing you with some creative thoughts and anecdotes that will hopefully lead you to creating more compelling photographs – enjoy!
Burn out or Burn Bright
As a photography faculty at the Brooks Institute, I’ve worked with a wide range of students. Some have gone on to accomplish great things – even fame! Others have dried up, burned out and left the field all together. I’ve always been interested in this dichotomy, and it interests our students as well. They are always on the lookout for the secret that will help them excel. A few years back, one student was having his portfolio reviewed by the legendary Jay Maisel.
The review was fine, yet after it was over the student pleaded with Jay, “Tell me, how can I take more interesting photos?” With missing a beat, Jay volleyed back, “Become a more interesting person.” Or said in another way, as Chris Rainier told me last week, “…at some point photography becomes autobiographical. In order to create better photos, sometimes we need to put down the photography books and magazines. Then we need to go out and to develop who we are.”
Who we are, shapes what we see.
Make the Ordinary Extraordinary
Regardless of who you are or what your do, it is easy for anyone to fall prey to “if only” thinking. If only I had that lens. If only I had that camera. If only I was given that assignment. If only I lived in that town. If only. Yet, to counter such stifling thoughts, many photographers I know use their imagination to redefine circumstances. And right now, I’m not talking about photographically finding beauty in unlikely circumstances. While that is critical, here I’m talking about defining who you are and what you do. Let me explain. (more…)
Extreme Photography: First Frame
When high school guys have a little too much courage (or booze) in their system, they sometimes hit the road for a game of “chicken.” In the game (primarily designed to thin the herd of the stupid young males before they get to breed) two people drive right at each other in cars, until one blinks and swerves out of the way first.
This person is the loser of the game.
Get a little more age and enough alcohol involved — and a handgun — and you may end up with a game of Russian Roulette, which is an even faster ticket to a finalist slot in the Darwin Awards.
As a young sports photographer 20 some-odd years ago, our professional equivalent was a little game we liked to call “First Frame.” I was introduced to it by my friend Rich Riggins, who was a ridiculously good sports shooter at a very young age.
The rules were simple: Two competing photographers shooting the same game shot the first frame of a 36-exposure roll of Tri-X at each other, thus verifying that no rolls of film were switched later. The very next frame was your entry in the game. Whoever had the best action shot (moment, composition, focus, etc.) won.
Mind you, this was in the days of film and manual focus cameras. We didn’t have 11FPS auto-focus digital Uzis with 4000-shot clips. And yes, we walked to school, five miles, uphill both ways — in the snow. Barefoot.