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Selective Color in Minutes

Friday, July 9th, 2010
Trail closed, selective color

Trail closed, selective color

Or seconds, as the case may be. You may remember this post from a few days ago. It was also posted to my photostream on Flickr, where one of the comments expressed surprise that the selective coloring took no more than a few minutes relative to the rest of the image (total time was two hours).

The trick to getting the selective color so quickly was twofold:

  1. I was fortunate in that the image is almost monochrome already (remember me saying that before?).
  2. I was using Photoshop CS5

To explain: if I were to do this quickly, without the editing out of distracting objects and fine-tuned sharpening, the steps to create this would boil down to:

  • Duplicate the original layer;
  • Convert new (top) layer to B&W;
  • Add a layer mask, showing all grey;
  • Punch holes in the mask to let some color through;

Looking at it like this, you would think that I hand-painted each bit of color.  This should take a lot of time, no? Well, doing it that way would take a lot of time.

I did it a better way.  Remember that this is essentially a monochrome image.  Mostly green, with some blue and some orange.  That means we can almost safely use the Color Select tool in Photoshop to select the individual elements.  The sign, for example:

  • Open Photoshop.
  • Click “Select” in the menu, then “Color Range.”
  • Click anywhere on the orange areas.
  • Move the “Fuzziness” slider until all oranges are selected (you’ll get part of the trail and a few trees, too).
  • Use the lasso tool (or marquis, which is what I used) to unselect (alt-click & drag) everything that I don’t want.

Repeat for the blues.

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Capturing the thought process

Monday, March 22nd, 2010

After re-reading my post the other day, I came to the conclusion that it really wasn’t that helpful.  Not to me, at least.

No, to properly write up an overview of the creative process, it should really be set in order.  So in bullet points, here is the thought process that led to the layout for the final shot: Click to continue »

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Strobing on Vacation

Sunday, March 21st, 2010
Snakehead Cowry, side profile

Snakehead Cowry, side profile

By taking just a few flashes with me on trips, I can create DIY studio shoots wherever I may be.  Take the image to the right, for example: you’re seeing a snakehead cowry. We found this shell (about 3 inches long), washed up on mile 69 beach, just south of Hapuna beach.  A gift from moana, one could say.  Its owner had long since been eaten, this being just a memory of a life that was.

Now, the sea-lover in me wanted it in the deeps.  What a perfect home for a young hermit crab!  But the photographer in me wanted to see it up close, under the lens.  So to the condo it went, for a short while. Click to continue »

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Getting the feel for Bokeh

Thursday, January 21st, 2010

Ok, so last time I wrote about getting traffic for images with the word “bokeh” in them, and I promised a how-to.

After thinking about it, I realized that I don’t really have a strong enough grasp of either optics or physics to pull off an in-depth, highly knowledgeable article on this.  For me, doing anything with bokeh is a bit of a crap shoot.  Intellectually, I get it – but I can only visualize it by feel, and I only know what works for me.

So, that being said, I’m slightly changing the subject: this is still a how-to, but it’s a “how to get a general feel” for bokeh.  Think of this as a training exercise, not a definitive lecture.

So, let’s start. Click to continue »

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Three Light Pop

Monday, December 14th, 2009
three-light-pop

Three lights on Pop

The picture to the right was taken with three lights.  Technically four flashes, but only three produced the light in this particular portrait. The fourth worked as the master controller for the other three.

Our goal was to show the beard – a near-year’s worth of growth, which is about to be chopped off.  We wanted to show the full size and fuzziness (this is a lot for this guy), so that later photos can accurately show the contrast.  There  were several poses that we ran through, all of which did pretty well.  This was my favorite, I think – it shows that the hair in the back grew (pony tail, yeah!), as well as the beard effect.

So, how it was done: we started by running through the house.  We needed a background that would be visually interesting if we chose to light it. It also had to be in a room large enough so that we could use light to isolate details if need be.

In the end, we chose the main living room.  It’s large, has dark walls, and a natural-stone fireplace (barely visible in this background).  Unfortunately, a few shots in & we realized that the mantle cuts right through an adult’s head from virtually any angle.  So, darken it we shall!  Take the rear light, turn it around & give the subject rimlight.  This was at 1/32nd power. Click to continue »

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On the Fly Strobing

Wednesday, December 2nd, 2009
Cake, Detail

Strobed cake

Go ahead, take a gander at the pic to the right. Click it, look at it up close. This is one of my favorite (recent) pics – taken just last week on the fly.  Since posting it on Flickr, I’ve had a few people asking about the details.  Perhaps better said: they wanted to know how I did it.

First off, this is a single-strobe shot. The background was brighter than the foreground, so that’s my primary area of exposure concern.  This means taking a reading on one of the brighter areas with a spot meter.  In my case, the in-camera one – no prob.

Now, dial it down a little, to bring in the saturation of the colors.  End result: before I’ve taken the shot, I’ve already set the camera in manual at 1/100th, f/ 9.

This makes the foreground far to dark.  So quick, set the on-camera flash to commander mode, yank of the large flash, set it to sync mode, and hand it to someone nearby (thanks, Josh!).  Set that to 50mm (limit the spread of the light), and have him hold it up near the ceiling.

At this point we have a remote flash, the background exposed properly, and a nearby diffuser to blast light off of (the ceiling).  Set the external flash to iTTL, with “0″ compensation across.

We’re set, now let’s go: give it the first test shot.  As expected, it was too dark. This is mostly due to the light color of the cake and the bright background.  Dialed it up to +.7ev on the flash and took try #2.  Dead on – we’re good.  All shots from that point on were like that.

Flash is barely three feet to camera left for this.  Remember that this is while people are milling about and setting up wedding decorations.  It’s a great effect in little time.

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At-home Ad-Hoc “light box”

Thursday, October 8th, 2009
Ware ye the fires of Hell

At-home studio shoot of a dark bottle

What you see to the right is a quick shot of some hot sauce that was done at home, to show some friends what the bottle looks like.  The setup I used is rapidly becoming one of my favorite techniques for doing a quick at-home photoshoot that looks like it should be done in a lightbox.

Basically, when you’re doing a lightbox shoot, you’re trying to create an environment where light is diffuse, outside light doesn’t interfere, and you can control all aspects of the shot. Oh, and it has to be quick!

So, setting this up: first of all, I made sure that this was taking place after dark.  No light from outside to interfere.  Then, move to a room where light can be turned off.

Now, with the lights on, setup everything.  In this case, I setup a cookie tin in the back, and stole a pane of glass from a picture frame.  This became the bottom and the sides.  Then, one flash firing towards the back – to illuminate this guy from behind.  One more flash to the right, to give a kick to the site, and for some separation from the background.  Last, a softbox overhead, to light up the tag and make the lid stand out.

Below: a look at the overall layout, courtesy of the Online Lighting Diagram Creator.

Quickshot Layout

Quickshot Layout

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Making a high-key photograph

Thursday, August 27th, 2009

Yesterday’s picture was an example of a high-key photo.  Notice how there’s so much white in the image?  That’s the “high” part of the key.

Now, how to pull this off.  First of all, you need a layout for the photo.  In my case, I started with a white peice of paper as a background (yeah, it was pretty big).  I also added the tea, cup, plate and chocolate, deliberately picking white dishes.

So that’s the first part, making sure everything is light. Click to continue »

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Hue, Saturation, and Luminosity

Saturday, August 22nd, 2009
Just above Seward

Mountains over Seward

Almost a year ago, I went to the NAPP Photoshop World in Las Vegas.  I’m dying to go again this year, but I’m afraid I’m out of time.  Maybe next year – especially if they would add more about using Photoshop in the medical field… but I digress.

One of the main concepts I came away with was courtesy of Jean Paul Caponigro.  He said: color is merely a blend of hue, saturation, and luminosity.  He lamented that a photoshop filter (similar to the channel mixer or the contrast/brightness applet) had been removed, but then pointed out that it was back in Adobe Raw, and pointed out a couple of ways to fake it in Photoshop.

Well, that’s kind of the point of the photo to the right.  It was a poorly processed HDR image, which just couldn’t be brought close to color properly in Photomatix – not easily, at least.  The original was far too grey, in fact.  But with H/S/L, we can bring back the colors to how they should be.  The steps I took here, and why:

  • Tweaked hue for yellows and greens – moved them more to the green side of the scale, but very slightly.  Yellows, about 11, Greens about 18.  This moved the muted greens over to a more pure green, without adding saturation or brightness.
  • Tweaked green luminosity – added no more than 10.  This brightens the greens, which means we lose saturation.  A side benefit: we lose some of the greys.
  • Removed about 8 in luminosity from yellows – after the tweaks, they were almost too saturated.
  • Slighty bumped green & yellow in saturation – this gets rid of the last of those greys and makes the hills feel “alive.”
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Shooting red on a blue background

Thursday, August 20th, 2009
Red strobed flowers (and tagged)

Red strobed flowers

Taking a picture with strobes can be somewhat challenging with the setup that you have to the right.  What we have here are two primary colors, red and blue, with slightly different tones that need to come out well saturated.  I’m doing this indoors, so I don’t want the light to be quite as harsh as I did last time, so I’ll use a softbox.  How am I going to set this up so that the background recedes and the flowers are well saturated?

A few things.  First, I need to keep the lighting on the flowers delicate.  They’re already pretty bright, so they don’t need a lot of light.  Too much, and the colors bleach out.  I also need them to be brighter than the background – the background is actually a mid-to-light blue color (my daughter’s lunchbox, in fact).

So I start by exposing f/stop wise where I think I’ll need it for the light.  f/11 or so.  Then I adjust shutter speed while exposing for the background, aiming to hit -1EV for that guy.  Flash with softbox is perched to camera left, set on manual (14 mm spread) at 1/32nd power.  Blinds it out on the petals.  Move it down in third stops until it stops bleaching out: 1/64 even is the flash.  Try slightly smaller and larger f/stops, find f/11 is still the best.

That’s all there was to this.  These petals are from the www.moosestooth.net parking lot (my daughter snagged them).  I did the full setup, shooting and teardown in 20 minutes – her bath.

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