Visionary Wild, LLC • 2200 19th St. NW, Ste 806, Washington, DC 20009
E-mail: email@example.com • Tel: 1-202-558-9596 (9am to 6pm, EST). • Justin Black’s iPhone: 1-202-302-9030
We look forward to hearing from you!
1. To tone down the whites in an image, select them using Color Range. Add any adjustment layer, and change the layer blending mode to either Multiply or the slightly stronger Linear Burn. Then drop the layer opacity to taste.
2. When shooting frames for a panoramic, manually setting camera exposure is more precise than using an autoexposure mode. Use the middle of the panoramic scene to set the base exposure. If you’re shooting RAW files, you can leave white balance (WB) set to Auto. When processing the files in Adobe Camera Raw, or Lightroom’s Develop module, select one image and drag the WB slider from the “as shot” position to a distinct number. Now sync all the other frames to that WB.
3. Make a preset to rename your files in Bridge or Lightroom based upon the capture date. When you travel, reset the clock in your camera to the local time zone. This way, all your image captures will match up with your itinerary and there will be no confusion as to location. Just remember to reset the clock when you get home.
4. Photoshop’s Ctrl/Command+Z undoes the last step you’ve taken. But using it immediately a second time simply undoes the undo you just made. To step backward more than once, use Alt/Option+Ctrl/Command+Z.
5. When preparing an image for printing, as the final step add a 3 pixel black hairline around the perimeter to define the edge. Three easy ways to do this:
6. Opening several similar images as layers in Photoshop (from either Bridge or Lightroom) aligns the outer dimensions of the images. To align the contents, select all the layers, and then do Edit > Auto-Align Layers.
7. Make a brush to add your name and copyright to images. Make a new white document no larger than 2500 pixels long dimension. Add the copyright symbol and your name. Then do Edit > Define Brush Preset. For a signature brush, write your name on white paper using a black marker, photograph it (jpeg, small, fine), and size the image to no larger than 2500 pixels. Using Image > Adjustments > Levels clip the image to pure white and pure black. Save as a brush, Edit > Define Brush Preset. If you use either of these brushes on a new layer, you can add Layer Styles (drop shadow, etc.) to that layer.
8. Caps Lock toggles the cursor display — for example, from standard to precise.
9. Use the often overlooked Image Processor (from Bridge: Tools > Photoshop > Image Processor) to quickly create new file types. Select the images, choose an output location, select the file type you want, specify the quality and size, and click Run.
10. When making selections, remember that the “marching ants” only show pixels that are at least 50% selected. Outside of the “ants” are pixels that are also selected, just at a lesser amount.
These tips originally appeared as part of an article John wrote for Photoshop World magazine. John co-leads our Vision Workshops series with Jack Dykinga and Justin Black, and in 2014 will lead trips to New Zealand, Iceland, and Patagonia for Visionary Wild.
Our friends at Hunt’s Photo Video and Ilford are sponsoring a free webinar on fine print making,
What are the aspects and qualities that make for a Gallery-Quality Fine Art Print? Exacting color, smooth tonal transitions, a well-balanced contrast range and the best paper choice for the image all come together to make a print worthy of hanging in most any venue or location. Color workflow, soft-proofing and what fine edits to make will all go a long way towards making your results both accurate and repeatable. In this presentation, we’ll explore the process, tools and techniques from edit to output that allow you to produce a print both you and your collectors will be proud of.
by John Shaw
Editor’s note: There’s a lot of photo-mythology floating around out there. Visionary Wild instructor John Shaw puts a few of his favorite myths to rest.
1. Images for the web should be sized at 72 dpi. First of all, “dpi” refers to dots per inch, and computer screens have pixels, not “dots.” But “72 ppi” is also false. Pixels dimensions are the only criteria for computer images. 1200 pixels are 1200 pixels, whether they be 1/inch or 1200/inch. You still have 1200 pixels. Say you have an image that’s 1000 x 500 pixels at 72 ppi. How many total pixels is that? 1000 x 500 = 500,000. Resize to 1000 x 500 pixels at 300 ppi. How many total pixels is that? 1000 x 500 = 500,000. Exactly the same. If you’re resizing web images to 72 ppi, you’re simple adding a useless step to your workflow.
2. Mac monitors use 72 ppi while Windows ones are 96 ppi. Sorry, this is a myth. If it were true, a monitor would have to change resolution depending on whether it was connected to a Mac or a PC. Want to know roughly what the resolution of your monitor is in ppi? Measure the horizontal width of the screen and divide this into the horizontal pixel dimension at the monitor’s native resolution. My laptop’s screen is 1920 pixels wide, and measures about 13.5 inches horizontally. 1920/13.5 = about 142 ppi.
3. You should set Adobe RGB in your camera if you’re shooting RAW files. While this might affect the image displayed on the camera’s LCD, it does not directly affect a RAW file. After all, if Adobe RGB were actually applied, the file would no longer be RAW data.
4. For the best RAW file results, set a specific white balance in the camera. Don’t use Auto White Balance. RAW files have no white balance. Just as I said above, if a white balance were applied the file would no longer be RAW. A specific white balance is only set when the file is processed into a standard graphic file format such as .psd or .tiff or .jpeg; that is, when it is no longer a RAW file.
5. This RAW image is how it appears right out of the camera. Not true. A RAW image has to be rendered in some way before you can even see it. Exactly how it is rendered depends on the default settings of the RAW conversion software you use.
6. You can evaluate exposure by looking at the image on the camera’s LCD. You can adjust the LCD’s brightness on almost all DSLRs, so exactly which level of brightness would be “correct?” Sorry, not true at all. For that matter, the camera LCD most certainly is not a color corrected and calibrated monitor. You can evaluate composition; you cannot evaluate color or exposure. You definitely should use the histograms for exposure information.
7. Always use a UV filter to protect your lens. From what? Dirt and fingerprints? Then you must take the filter off for every shot, otherwise you’re shooting through a dirty, fingerprinted filter. Use one for “protection” only if you can state from what it is you’re protecting the lens. Salt spray? Yes, this might be an answer, but I live about 100 miles from the ocean and on the other side of a mountain range, and if there is salt spray here, protecting my lens will be the least of my worries.
8. 12 frames/second is better than 10/frames per second. In what way? Neither one guarantees you’ve caught the peak moment. Consider this: let’s assume a shutter speed of 1/1000 second. 12 frames/second captures 12/1000 of the action, and misses 988/1000 of it. Holding down the shutter button at the highest frame rate yields lots of images, but not necessarily the one you wanted.
9. Always underexpose a half-stop to richen the colors. Intentional underexposure with digital cameras is one of the worst things you can do. It simply adds noise.
10. Professional photographers get all their equipment free from the camera manufacturers. Boy, do I ever wish this were true, but it isn’t. For that matter, I wish it were true for cars and houses also.
11. All information on photography forums is true. You might remember back when there was an actual discussion about using Scotch® tape to clean camera sensors. I’m fairly sure someone fell for this, and actually tried it. We all know that it’s not Scotch® tape you should use, but duct tape, right? (Well, I read about using duct tape on the Internet, so it must be true.)
CLICK HERE to check out John Shaw’s blog.
The November 2011 issue of Outdoor Photographer magazine features an article by Justin Black about ways to add greater meaning and purpose to your photography. You can read the full text and see the accompanying photos here:
“Polar exploration is at once the cleanest and most isolated way of having a bad time which has been devised,” wrote Apsley Cherry-Garrard of his time with the 1910 Scott expedition to the South Pole. And that’s how most of us still imagine polar expeditions: stolid men with ice riming their beards drawing sledges and risking death for scientific knowledge. But polar science has changed drastically over the past century—as Chris Linder shows us, brilliantly, with Science on Ice.
The result is a combination travel book and paean to the hard work and dedication that underlies our knowledge of life on earth. Science on Icetakes readers to the farthest reaches of our planet; science has rarely been more exciting—or inspiring.
Review of Science on Ice:
“Science on Ice gives the reader a glimpse into the challenges of conducting field research in the extreme and isolated environments of the Arctic and Antarctic. I came away with a new appreciation of both the risks and adventures scientists experience, the creativity and adaptability they must possess to work in difficult conditions, and most of all, the fact that they are normal human beings with a strong sense of curiosity that fuels their work. This book will help us understand these distant reaches of our world, and] it has enormous potential to spark the minds of future would-be scientists.”—Amy Gulick, photographer and author ofSalmon in the Trees: Life in Alaska’s Tongass Rain Forest
by Justin Black
The lone-wolf photographer is a concept with which we are all familiar. Many of us like to think of ourselves as self-reliant and passionately free-spirited, driven only by an innate creative vision. In my experience, however, most of the people I know who have mastered anything haven’t done it on their own. They’ve done it through interaction with others.
One of the most important experiences in my formative years was in George Washington University’s small but excellent photography program, founded by a landscape photographer named Jerry Lake. Professor Lake treated his students like family and regularly joined us on weekend photography outings, an act of “above and beyond” generosity to be sure. Back in the studio, students and professors alike would regularly pin up prints in a common area and critique each others’ work. The atmosphere was open and supportive, and everyone felt free to share their work and honest opinions. We all benefitted tremendously from the process of peer review and constructive critique.
In the early days of my photography career, I began to miss the honest and constructive feedback of other photographers, so a friend invited me to participate in Photo Salon, an informal group of serious photographers who met each month at a photo studio outside Washington, DC. Work prints were spread across a huge table, everyone would circle around, look them over, ask questions, share impressions, and offer suggestions. Each of us would have the opportunity to say a little bit about what we were working on and what challenges we faced as we developed our body of work. There was a documentary photographer following the stories of cancer patients, a portraitist doing a book project on transvestites, a fellow who created beautiful abstracts in abandoned industrial sites, and my landscapes among several others. With so many different genres coming together in one place, we each left our comfort zone and benefitted from the insights of professional peers who were all sophisticated visual communicators despite coming from differing interests and backgrounds.
These experiences taught me the art of constructive critique that I regularly apply to this day as a workshop instructor, and they drove home the tremendous value of gathering with other serious photographers in a spirit of camaraderie to discuss aesthetics, themes, techniques, ethics, potential outlets and markets, and myriad other topics. As much as I value creative independence and cherish solitude when I can find it, it seems to me that engaging with a community of passionate and insightful peers is one of the most personally and artistically rewarding activities any photographer can undertake. It is with this knowledge that I look forward eagerly to every workshop critique session and the happy déjà vu experienced every time a participant tells me that they learned far more from the critiques than they ever imagined possible. I have indeed been there before.
by Justin Black
The Dragon rippled as I slid the kayak out into the swamp’s caramel-brown water. The still quiet of pre-dawn was broken only by the song of a prothonotary warbler, a croaking bullfrog, the sudden splash of a jumping sunfish. Gliding along on the glassy surface past lush swamp plants – arrow arum, water lilies, swamp rose, the lovely purple poker-like blooms of pickerelweed – and under the spreading branches of bald cypress, their conical “knees” emerging from the water in rows like the Dragon’s teeth, I felt completely removed from the Tidewater Virginia farmland that encircled me beyond the forest. Entering this place was like time-travel.