Tag Archives dave williams

Hello, hello, hello, and welcome! It’s #TravelTuesday here on Scott Kelby’s Photoshop Insider so I, Dave Williams, am here for you! Yes, that’s right, for you! Every week, right here, I try to either get your cogs turning or share something to make your life a little easier or a little better. (And, it’s no easy task, let me tell you!) But, first off, I have a little story to share with you about an encounter I had with a fox, during which I learned exactly what is and what isn’t covered by the warranty offered by BlackRapid—you can read that here. Moving on, however, let me tell you what I came here to tell you!

The punchy title, above, doesn’t give a lot away really, does it? I tend to do that. I’m not going to say ‘clickbait,’ but yeah, you know. Here’s exactly what I’m going to show you:

Using Adobe Spark Post, it’s really simple to bring one of your iPhone Live Photos to life as a video to easily share anywhere. It’s so easy it’s actually going to make for a really, really short post (so I may have to drag it out somewhat ;-).

Here’s what I’ll show you how to do (I’ve helpfully embedded the file here, as well as provided a link to it separately, just in case you have a disastrous browser situation because I’m nice like that. Anyway, what was I saying about padding this out a little?):

 

 

First up, we need to launch the Adobe Spark Post app on an iPhone. Within the app, get a new project up and running.

Next, let’s add a photo. By selecting a photo already present in the post, or by using the Add Image option, select Photo Library from the list and find the Live Photo in your Gallery.

 

When adding the photo you’ll get the option seen here to select either the Photo or the Live Photo. Let’s choose Live Photo.

 

 

When the entire post is complete, hit Share in the upper-right corner, then select Video rather than Image.

 

 

This will output the post as a short video made up from the sequence of shots captured when you shot your Live Photo on your iPhone, and it’s a great way to share it easily. The file I shared with you is 3.9mb and is in MP4 format. :)

I hope you enjoy trying this method!

Adobe Spark Post is available in the Adobe CC Photography Plan and there’s a bunch of information about the Adobe Spark suite on KelbyOne.com.

Much love,

Dave

It’s #TravelTuesday again! Doesn’t it come around quick? It seems like only a week since the last one! Well, here at Scott Kelby’s Photoshop Insider that means the reigns are passed on to me, Dave Williams, to share something about Photoshop, photography, travel, and life. Today, I’m going to tackle a thing that us photographers are faced with over and over and over again. It’s “that question,” which comes at you constantly from all angles. You know the one:

“What camera shall I get?”

Well, basically, there is no right answer! There’s that old adage thrown around pretty much daily: the best camera you can have is the one in your pocket. If anyone asks you which camera to get, feel free to direct them right here!

The best advice, really, is this: buy the camera that you can afford!

Getting a new camera for yourself or as a gift for a loved one getting into photography is quite an overwhelming and potentially daunting experience. Every camera out there claims, in one way or another, to be the best one. Every shop wants you to buy from them. Every salesperson seems to know best and wants to upsell whatever they have in stock. It can all be a bit too much, particularly when you don’t know what you’re looking for. Well, here’s what you’re looking for!

  •  Manual mode – This allows you to take complete control of the camera. It isn’t something a beginner will necessarily want to do from the outset, but it absolutely is something to work up to. And, having that feature there will mean you won’t have to splash out on another camera when you get to it.
  • ISO – The ISO is the sensitivity to light. Look for a camera that performs well at about ISO 1600 so that you can produce clean images in low light.
  • Autofocus – A decent, fast autofocus system can make the difference between getting the shot or not, particulary in fast-paced situations.
  • Megapixels – It’s not all about the megapixels, but the more the merrier, right? If you want to print your shots, which I suggest you do, the megapixels matter. The more megapixels, the bigger you can print.
  • RAW – A camera that shoots in RAW format will make for a far better experience in editing the photos in Adobe Photoshop or Lightroom because every bit of data that makes the image is stored in detail rather than being compressed in the JPEG format.
  • Ergonomics – Obviously, this is an important factor. The look and feel of a camera can be just as important as your clothing style. If it doesn’t suit you, will you be encouraged to use it? Similarly, the size and weight will be a consideration for how often it gets used, too.

So, all that considered, how about brands? Well, if you ask a photographer which camera to buy, you’ll likely get a response encouraging you to buy their brand. #TeamNikon right here will push you towards a Nikon, whereas if you ask Scott you’ll probably be told all about #TeamCanon, or Glyn Dewis may persuade you to join #TeamSony. Photographers are aggressively true to their brand, on the whole. The reason is quite practical in that if you start off using a brand, you are stuck with that brand’s glass and accessories, which is a very expensive thing to switch from. It’s all masked by a fued of commitment and alliegance to the brand! Right now the top three brands are Canon, Nikon, and Sony.

So, what about the type of camera? 

  • DSLR – This means Digital Single Lens Reflex. Which translates to “it has moving parts and you can look through it.” The image from the lens is reflected on a mirror to the viewfinder, and when you hit the shutter release button, the mirror quickly flips out of the way and the shutter curtain shoots across the sensor to let the light create an image. They’re generally big, heavy, and pretty delicate. They are also the best option in terms of accessories and lenses because they’ve been around for so long and are essentially the grandchildren of film cameras.
  • Mirrorless – These cameras are becoming very popular because they also have interchangeable lenses, but they’re smaller and have far fewer moving parts. They perform differently and they mostly have cropped sensors, meaning smaller images.
  • Point and shoot – These are far smaller, lighter, cheaper, and more or less completely automatic. It might be what you need, though!

Where shall I buy it?

The best place is a proper camera store like B&H in New York or London Camera Exchange in London. You’ll find a good variety of kits, and some pretty sound advice because the people who work in camera stores tend to love photography and know what they’re talking about. Amazon comes in next, but mostly because there’s so much on offer at good prices.

Does that answer the question? Probably not, because there isn’t really an answer, but hopefully it’s enough to steer you in the right direction.

Much love

Dave

Yes, it’s me again! Dave Williams, the #TravelTuesday blogger here at Scott Kelby’s Photoshop Insider, and freshly appointed editor at LayersMagazine.com. I’ve kicked off a new series of #MondayMotivation posts over there and I’d love for you to go check out the first one by Gilmar Smith!

I’m fresh back from a mission to Turkey where I predominantly shot the hot air balloons over Göreme in Kapadokya. It’s home to the densest hot air balloon airspace in the world, with the dawn skies filled with them.

The town is unique in that the buildings are carved and tunnelled into the rocky landscape. I’ll share more about it over on my blog, capturewithdave.com, another day, but today, right here, is all about this shot from the trip: –

 

 

Here’s the caveat, and it’s very important you aren’t disappointed by this: So, you know how this blog is entitled, “Scott Kelby’s Photoshop Insider,” right? The clue’s in the name.

 

 

This is a composite of two images: one of the cave interior and one of the balloons in the sky. Now, I’ll say at this point, anticipating any comments about how I shouldn’t be faking this, that actually it is a view that is attainable at this location. I just wasn’t in the caves at the right time of day to see it! I was limited by time and didn’t know my way around to find the right spots in the dark before dawn. Anyway, here’s the tip: –

We’ll use a different pair of images, which you can download the PSD file here to try it yourself.

When compositing images, it’s obviously very important to make the result look convincing! As well as good cut-outs and realistic placement of elements, matching the tone is very important. What I’m going to show you is a very quick, very easy, and very good way to match those tones.

First off, get everything cut out and in position.

 

 

The layers are set out in no fancy way for this technique; they’re simply stacked in order. On top, create a new layer and fill it with 50% gray.

 

 

Now, change that new layer’s blend mode to Luminosity. The colours will change, revealing the differences going on in your image. To see them more clearly, add a Saturation layer to this and boost the saturation right up. What we’ve done here is create a representation of the colour in the image.

 

 

From here, add a Selective Colour adjustment mask. When faced with the Properties panel, select the Neutrals from the Colours option, which actually contains most of the colour information. Adjust the sliders to balance out your image and match the colours – it’s hard to explain it because it varies wildly on an image-by-image basis, however when you do it and see it yourself it’ll make sense, I promise!

 

 

The Layers panel should look something like this one below. And, to finish off the image, we just need to remove the Hue/Saturation layer and the gray layer.

 

 

This leaves us with an image which has balanced tones, leaving it looking realistic.

 

 

It’s a simple and fast way to balance tones in a composite, and I’d love to see how it works for you!

Now, this experience is called a “once in a lifetime” thing, and that played on my mind when I was out in Turkey. I wrote a little piece about that, which I’d love for you to read over on my blog.

So, for now,

Much love

Dave

Hello there! It’s #TravelTuesday again so it’s that time of the week that I, Dave Williams, jump in right here on Scott Kelby’s Photoshop Insider to share something that will hopefully fill in a gap somewhere in your creative flow! Today, as I head off on a mission to Iceland, I want to tell you about something that I’ve found valuable in the field of drone photography and videography. I want to tell you how to pull a still from a video so that you can retouch it as if it were a photo in Adobe Photoshop – something I do when I shoot with my drone quite regularly.

First up, load the video you want to pull a frame from in Adobe Premiere Pro. In this example I’m using Premiere Pro CC 2018.

Now move the Playhead to the position within the video from which you want to pull the still image.

 

 

In this example I’m taking a still from a video I made at Kilt Rock during my trip to the Isle of Skye in Scotland last week. Gushing over the cliff at Kilt Rock is Mealt Falls landing straight into the sea. I caught a composition of the two on video and I want to make something of it, so I’ve set my Playhead to the right point and I’m ready to pull out the still.

Next up, hit the Export Frame button. When you do this you’re presented with a dialogue box which gives you a couple of options.

 

 

First up is the File Name. We can change this name to whatever suits. Further underneath that is the Path option, the destination of which we can change using the Browse button. The option that’s rather more important to us here is the Format field. Once we change this it remains selected as that format each time we do this until we change it. There are a few options here, one of which as a photographer we may not be so familiar with, and that one is DPX. This stands for Digital Picture Exchange and it’s the format used when scanning film which records colour density and in fact records a lot of data relating to the frame. The more common formats we’ll see here are TIFF and PNG. Personally I choose PNG, however it all comes down to your preference and your intentions.

 

 

Once we’ve hit OK after selecting the format and destination of the file we can go ahead and take it from our folder straight into Adobe Photoshop or Lightroom to make the adjustments we’d make to any other photo. It’s that simple, yet surprisingly often overlooked.

 

 

I hope that little nugget was useful for you! As always, do let me know how you get on, and you can show myself or KelbyOne on Instagram if you want, we love to see! You can keep track of my Iceland adventure right on my Instagram too!

Much love

Dave

Hello, internets! It’s #TravelTuesday again, so I’m here to impart some kind of wisdom onto you, and today it’s all about tweaking colour with Camera Raw’s Hue sliders. But first!

I’m writing this post from a Starbucks just outside of the Loch Lomond and The Trossachs National Park in Scotland, fresh from an overnight stop before I head farther north towards the Isle of Skye. I’m shooting a couple of little projects involving drone photography and Platypod tripods. You can keep up with what I’m doing on this trip by following me on social media (look for @capturewithdave) and by watching the @kelbyonepics Instagram story!

On with the blog!

The HSL  (Hue/Saturation/Luminance) Adjustments panel in Adobe Camera Raw is very useful, but perhaps most confusing are the Hue options. While the Saturation and Luminance sliders enhance the colours, the Hue sliders actually change them. There are some pretty powerful things you can do with the Hue sliders—you can even change the seasons in post if you tweak the colours the right way.

What’s actually happening when you adjust a colour slider in the Hue tab is that you’re moving its position on a colour wheel. In terms of its practical application, I’ll use the Hue sliders to adjust this photo and make the grass greener, whilst maintaining the other colours.

 

 

In this shot, the tones up in the sky are beautiful—the sun lowering in the sky (it’s 9pm) is casting a fabulous orange glow—but I feel like the grass should be just a little bit greener. We can take advantage of the Hue sliders and make this adjustment easily right in Camera Raw.

 

 

Using the Hue sliders to shift the colours within sections of the colour wheel, if we move the Yellows slider (the colour of the grass in this case) towards the green end, and compensate with the Oranges and Greens sliders to maintain the actual green and retain that orange in the sky by moving those sliders away from the yellow ends, we’ve easily achieved our goal! It’s as easy as that!

 

 

 

That grass is now greener, which to me is more realistic and more pleasing, and all it took was an understanding of what’s going on with the Hue tab’s sliders.

Much love

Dave

Hi there! It’s me, Dave Williams, coming at you again this #TravelTuesday at Scott Kelby’s Photoshop Insider. I’ve just returned home from a Stateside mission and returned to a rather gloomy London Town, and I’m a little exhausted from the adventure and the jet lag so massive apologies for posting so late today! I have a little nugget of wisdom though, so I hope it’s worth it for you all. It’s a little tip which I’ve learned from many times on my journey as a travel photographer, and it’s the result of anticipation, climax, anticlimax, and reward! I had this experience again just a few days ago, so I’ll share it through that story to show you why I’m saying what I’m saying.

So, I was in Rhode Island and went to meet up with Kaylee Greer for an awesome adventure. I headed to Kaylee’s place and before we went out I was lucky enough to have my portrait shot by Sam Haddix, which I can’t wait to see! We were all discussing where to go and what to do, which ended up being the Cliff Walk near Newport, RI. The plan was to be there for sunset but you may have sensed already by the words I chose to use there that we weren’t! As is so often the case in the world of travel photography, things change. They may go wrong, they may be somehow cancelled, they may just not be achievable. In this case it was the latter.

Kaylee and I were in Newport having a little explore around the shops there. We had about 4 hours until sunset and everything was in sight. But then it started to go wrong. Right then I saw a postcard stand outside one of the souvenir stores and I was explaining to Kaylee: –

Whenever you go to a new place, one of the best sources of inspiration for shots is the local postcards

And right then I saw something awesome. I had been looking online for the local lighthouses during my entire trip, but right there on one of the postcards was an awesome looking lighthouse on a rocky outcrop, surrounded by azure blue water with waves breaking all around it. I had to shoot it myself! Out came Google Maps and I found the lighthouse, probably 1/4 mile offshore. The problem then became real. That lighthouse was an hour away. Things in the plan were starting to change. Determined to shoot the lighthouse and get back to the Cliff Walk for sunset, we pressed on!

 

 

That little lighthouse shoot took longer than anticipated, with a drone battery change required and a few other nice little scenes noticed and shot, which meant that getting back to the Cliff Walk was going to be tight if indeed it happened at all. Turns out it didn’t! But here’s the thing. The intention to shoot the Cliff Walk as the sunset shoot was now flipped out completely, which for me would once have ended up with me in somewhat of a sulk, stubbornly refusing to do anything else in my determination to get there despite knowing full well that I wouldn’t. The moral of the story is this: –

Whenever and wherever you get a sunset, shoot it right there!

A golden hour opportunity is often too good to waste. In this case we were totally in the wrong place according to the plan, but when the sun started to change the light of the entire sky we just stopped in the first ‘slightly nice’ place we saw, which turned out to be a little marina in Tiverton, RI. The change in light made what would likely have been a mediocre scene change into something else. Something worth shooting. Certainly something worth shooting rather than risking shooting nothing by driving on and arriving in the dark, or by stubbornly not shooting anything because the plan had changed! A sunset, wherever it may be, is often worth shooting for either the practice, or for getting a sky to switch out in another photo, or just for the experience of watching another day come to a beautiful close. Us photographers can so often be such a stubborn breed, so don’t let that get in the way of an opportunity!

 

 

Many thanks to Kaylee for putting up with me for the day and for sharing that sunset!

 

 

Much love

Dave (and Kaylee)

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