Photography Blog

Morten Svenningsen asked:




 

Before you apply any of these special effects, it can be useful to apply a masking on your photo to select which areas you want to change and which you want to keep unchanged. You can easily get a nice soft fade between the effect and no-effect areas. This is called masking and there’s many ways of doing it. The one method I almost always use now (it took years before I discovered it) is the ‘quick mask mode’. It is very easy to use and usually gives acceptable results.

Quick masking

In Adobe Photoshop find the button called ‘edit in quick mask mode’. It’s located near the bottom of the main tool bar and looks like a circle in a rectangle. There’s also a short-cut key: Q. Once in quick mask mode, you can select and deselect areas simply by painting them with white and black respectively, using the standard brush tool. Zoom to 100 or 200 % for best accuracy. You might want to use a soft-edged brush to avoid hard edges. Alternatively, when you’re done, exit the masking mode and go to ‘Select > Feather’ and set the feather radius to 5-10 pixels or so. A nice option is that you can set the opacity to anywhere between 0 and 100%, allowing you to apply the effect stronger or weaker in one part of the image that another.

Layer masking

Slightly more complicated, you can add a layer mask. This allows you to apply any effect gradually from any point in your photo. Follow these steps in Photoshop:

1. Select ’Windows > Layers’.

2. Right click on your layer and select ’Duplicate layer’.

3. Click on the little icon in the bottom of the layer box called ‘Add layer mask’.

4. Select the ‘Gradient tool’ on the main tool box.

5. Choose a gradient style from the top ‘Options’ bar (linear, radial etc.).

6. Now click on your image on the point you don’t want to change, then drag the mouse away to the point where you want the full effect to take place. The effect will be applied gradually more and more along this line you’ve now create.

7. Finally, go back onto your original background layer and apply any effect you want. This will apply the effect in a soft, gradual way. Use opacity to turn the effect down to less than full strength if you want.

Lens-like effects

Using the layer masking described above, you can apply ‘Gaussian blur’ which will make the selected areas appear soft-focused, a bit like if you had used a large-aperture lens. With ‘Curves’ you can make your corners darker than the center, replicating the lens effect called vignetting. Technically, vignetting is considered a lens dysfunction, but subjectively it can add an extra feeling to your photo, a kind of frame that will have a ‘sucking’ effect, bringing more attention into the centre of your photo. You can also just lower the contrast and/or colour-saturation around your main subject, helping to separate it from the background clutter. There’s many other options, be creative!

Soft glow effect

Great for creating a ‘romantic’ look for portraits. Here’s what you have to do:

1. Duplicate layer.

2. Apply ‘Gaussian blur’ to the new (top) layer. Make it blurry, but leave a little detail.

3. Play around with the blend modes and opacity till you get what you want:

‘Darken’ or ‘Multiply’ blends darkens image details while also softening features and adding a halo. Good for soft, expressive shadows.

‘Lighten’ or ‘Screen’ blends lightens the image instead. Nice for adding high key or highlight glows.

‘Soft Light’ and ‘Overlay’ adds contrast and saturation. Especially useful for landscapes and still life photos.

Black-and-white-ish

A cool metallic black-and-white’ish look, in my opinion very suitable for documentary work and subdued portraits, is easily obtained by setting the contrast high (curves) and colour saturation low. Do it with Photoshop’s ‘layers’ to be able to tweak your exact settings it in place.

Colour grading

You know how some movies have a ’special look’, golden brown, sick yellow-greenish, cool blue etc.? You can get the same effect in your photos if you want. The simple way is to go to ‘Image > Adjustments > Hue/Saturation’, click ‘Colourize’ and use the slide bars to select your preferred grading. If you are going for a well-defined colour, it’s better to use the ‘Edit > Fill’ function. Simply select the colour you want and set the ‘Blending mode’ to ‘Colour’. Either way, it’s good first to duplicate your layer before you start. This will allow you to preserve some of the original colours by turning the colour grading down. Use the ‘Opacity’ slider in the layer box to do this. If you want a duotone image, simply make 2 duplicate layers and give them different colour gradings. Mix them together, again with the ‘Opacity’ slider and the different ‘Layer blending mode’ options in the layer box.

One example: To give your image a warm golden-brown colour tone, first make two duplicate layers. Use ‘Edit > Fill’ to make the first one brown (#963A12) and the second one yellow (#EDC715). Set opacities to 30 and 60% respectively and select the ‘Multiply’ blending mode for the top (yellow) layer. Tweak it in place to get it exactly like you want. Also try adding a soft glow, as described above.

Micro contrast

This is a really neat trick to enhance your contrast and draw out texture details in your photos. You can even use it when your overall contrast is already maxed out, using all tonal ranges from pure black to pure white. The procedure is similar to the normal ‘Unsharpen Mask’, but with some special settings. Go to ‘Filter > Sharpen > Unsharpen Mask’ and set the ‘Amount’ to around 20-30%, the ‘Radius’ to 50-100 pixels and zero on the ‘Threshold’. You will get a subtle contrast enhancement that, for some pictures at least, works really well.

Using any of the above mentioned effects can improve your photos and make them really eye-catching. However, learning when to use them and when not to use them is just as important as learning how to use them. When to use special effects in your photos is a matter of personal taste and judgement. Use it, but don’t overdo it. Often, less is more.

John Burton asked:




Shoulders

When the shoulders are square to the camera, they will appear artificially broadened, and give the portrait a very static look. It is usually best to position the subject so that the line of their shoulders is about 30° to the the subject/camera axis. The easiest way to do this is to sit the subject on a chair placed at an angle of 30°.

Use a chair without arms, because the subject will automatically use them, and this tends to make clothes ride up, affecting the shoulder and neck lines. The best shoulder line is produced when the hands are placed in the sitter’s lap, or the far hand place on their knee (the idea here is that the near shoulder should always be higher than the far shoulder).

Depending on the subject, a good pose can be obtained if the subject sits facing away from the camera (i.e. back to camera with shoulders still at about 30° to the the subject/camera axis), and looks back over their shoulder.

Head

When the shoulders are at 30° to the the subject/camera axis (facing the camera), the head can rotate through an angle of about 100°. The head can also be tilted either side of the vertical axis. The exact degree of rotation and tilt will depend on the subject, and require some experimentation (and you may need to adjust your lighting) . If the head is turned too far, it can produce unsightly neck wrinkles.

Generally, very formal portraitures are produced when the axis of the facial features is vertical (i.e. it is not tilted to either side). This is often a good option for more mature subjects. Tilting the head to either side creates a diagonal axis to the features. This suggests movement an vitality, and is often best for younger subjects.

If the subject has a weak chin, get them to tilt their head back a little, which will make their chin stick out. If they have a strong jaw, have the subject tilt their head forward reduce its prominence.

Care needs to be taken with 3/4 portraits (i.e. the face is at an angle of about 45° to the subject/camera axis). The tip of the nose should not coincide with, nor cut through the profile of the cheek.

Eyes

The eyes are the most important element of a portrait. They should not be looking down, unless you wish to convey thoughtfulness or any other emotion (e.g. coyness, sadness, etc). Eyes looking directly at the camera is usually the best option. Take care when photographing eyes that are not looking at the camera. This creates a sight-line (a line that the viewer’s eyes follow), which can lead the viewer’s eyes out of the picture. The best option here is to include a little more background, so that the subject’s gaze falls within the frame.

Smiles

Genuine smiles are hard to capture. Avoid big grins and grudging smiles. Some people smile easily, while other rarely smile at all. Go for a natural expression, be it serious or smiling, and remember, true feelings are expressed by the eyes!

Camera height

The optimum camera height for portraiture is at about the same level as the subjects eyes. Raising the camera height a little about eye level can cause the subject to open their eyes a little wider. Conversely, dropping the camera height a little below eye level can add height and dignity. Experiment.

Hands

Hands can be included in a head and shoulders shot, but are difficult to photograph because they can easily look like a bunch of bananas. They should not be nearer to the camera than the face, or they will be too prominent. Hands turned sideways with fingers extended look elegant. If including hands, try and give them somewhere to rest, or something to do (e.g. holding a prop).

Arms

 If forearms are to be included in the shot, they should not form a vertical line. Ideally forearms and hands should point towards the face. However, watch for changes to the shoulder line, as raising a limb can also raise a shoulder (the near shoulder should always be higher than the far shoulder).

Multiple subjects

 The single most important objective is to connect the subjects in some way (e.g. looking at each other, touching heads, etc), otherwise they might as well be photographed separately. Avoid heads in a row, and gaps between the subjects. Make one head higher than the other(s) to create a triangular composition. Two heads inclined towards each other also forms a triangle.

Footnote: There are circumstances when these “rules” may be broken, but the intention of this article is to convey simple guidelines applicable to most situations.

Portraits by John Burton

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Recherche Photography asked:


Recherche Photography

Rare, Refined, Romantic. Not your everyday Wedding Photography.

Open the door…to a lifetime’s worth of memory and meaning. As rare, refined and romantic as its discriminating clientele, Recherche Photography is no ordinary photography studio. Born from ideals of beauty and balance, it is a business that revolves around the unique beauty of its treasured clients. It is a Bohemian boutique that invites you to relax, dream, and escape from the daily grind. And it is a one-of-a-kind experience that will transform your landmark celebration into lasting, heirloom-quality memories fit for generations to come.

The staff of Recherche Photography have come together to create a personalized, intimate environment that is truly a feast for the senses. From your initial consultation to the arrival of your impeccably-packaged photographs, you will be treated with care and consummate professionalism every step of the way. It’s a standard that shows in every frame.

From one-of-a-kind keepsakes in its boutique to unforgettable mementos of life’s passages, Recherche Photography is your uniquely sophisticated urban retreat. Your life contains moments of exquisite beauty and extraordinary meaning and your engagement and wedding are just the beginning of a life-long love affair.

Fall in love with Recherche Photography…why entrust your precious memories to just any photographer?

A Wedding vendor should realize that your wedding is not a cookie-cutter process. They should custom tailor all packages to each client. However Recherche Photography notices that most brides fit fairly well into one of four categories. No matter if you get married in Denver Colorado, to Europe or Nationally as a Destination wedding, Recherche Photography has a wedding package for you. Which one are you?

1) The Minimalist

You’re The Minimalist. Simplicity is your middle name – from the sleek lines of an iPod to the pleasures of a perfectly cut white shirt, your personal style is easy and unadorned. Detail-oriented and down-to-earth, you bring order to all around you. The sounding board for friends and the go-to-girl at work, you’re capable, rational, and precise. But don’t sell yourself short – you radiate true beauty through straightforward communication and a soothing demeanor. There’s nothing pared-down about your passion for detail or your love of real honest living.

Crave: A class in Zen flower arrangement, a stack of plain silver bracelets, an iPhone

Avoid: Oversized baubles, multi-course meals, vanity plates

2)The Sensualist

You’re The Sensualist! **** and seductive, you’re governed by the five senses, which you shamelessly indulge with extravagant sights, luscious textures, and romantic meals. You’re at your peak when indulging in a decadent meal, sharing a passionate embrace, or blessing out in a tub spiked with exotic oils. More champagne and truffles than tea and scones, you bring a sense of luxury and passion to everything you do. From your fabulously overdone signature to your penchant for drama, you don’t believe in half measures.

Crave: A Mediterranean wine cruise, a full-body massage, a seductive flacon of hand-mixed perfume

Avoid: Stainless steel, low-fat anything, torturous Spin classes

3)The Organic

You’re The Organic! Your home is the true center of your life, and you decorate it with a flea-market sensibility and sustainable style. Obsessed with comfort and ease, you’re more likely to opt for a midnight hike than a crowded bar. You’re the person who brings incredible homemade cookies to a friend in distress and serves the perfect cup of tea in a fabulous vintage mug. From your eclectic personal style to your open, giving nature, you’re the personification of honest ease.

Crave: Fair-trade dark chocolate, a weekend in the mountains, a treasure-finding trip to your favorite vintage boutique

Avoid: Stinky subways, traffic, uncomfortable high heels

4)The Sophisticate

You’re The Sophisticate! Fashion is your middle name, and urbane luxury is your game. A world traveler, you can hold your own in a boardroom or a boutique. Your fresh, fun approach to life means that you infuse some oomph in everything you pursue. From updating a classic cashmere sweater with a hyper-modern piece of jewelry to surprising a friend with a perfectly-arranged bouquet of her favorite flower, you’re classy and sassy.

Crave: Plane tickets to New York or Berlin, season passes to your city’s most cutting-edge museum, a box of over-the-top cupcakes

Avoid: Boring take-out dinners, sports bars, people who don’t write thank-you notes

Try the quiz online to see what you are: