Creatively Using the New Lightroom Hue Control

 

 Tags: 

Photo, Adobe Lightroom, Hue, Posed Photography, Photographers, Photo Studio,  Photoshop, Beginners, Advanced Users

 

By: Rick Ohnsman 

Shop for items online and you’re often offered color choices. Would you like that hat in red, orange, blue, green, tan or teal? Click on the item, select your desired color, and the item will change to reflect your color choice.

Now, how about if you could selectively change the color of items in your photos without affecting other colors in the image? Maybe you bought the orange hat, took a photo of yourself in it, and wished you’d instead picked the blue one. No problem, don’t return the hat; you can change its color in your photo with the new Adobe Lightroom Hue Control.

One photo, many color variations using the Lightroom Hue Control tool.

Global versus local adjustments

Reach for the Exposure slider in the Develop Module of Lightroom, and slide it left and right. You will see the entire image get lighter or darker. Any of the other sliders will affect the image similarly. Controls which affect the entire image are called global.

What if you want to adjust just a portion of the image? Brighten up that one tree, do some dodging and burning, bring up the saturation of a sunset, make adjustments that affect only certain areas?

To you so you need to be able to make local adjustments. Lightroom offers three tools with this capability: the Adjustment Brush, the Radial Filter, and the Graduated Filter. Using those tools to add masks to the image will then allow you to apply the effects of the other sliders to just the masked areas.

Adobe photo editing programs

Choose your weapon: Lightroom Classic, Lightroom, Photoshop, or Adobe Camera Raw.

In discussing the use of the Lightroom Hue Control, I’ll be using the Adobe product I typically work with: Lightroom Classic. (The new logo now shows LrC.)

This is the version that runs on your local computer and stores images on your own hard drives. There is another version that Adobe simply calls Lightroom (LR). It has a slightly different interface and stores images online in the “cloud.” Then there is Photoshop (PS) with its accompanying tool, Adobe Camera Raw (ACR). Both versions of Lightroom have the new Hue Control, as does Adobe Camera RAW, so what we cover here can be done with any of those programs.

(Just a gripe with Adobe: Could you not have avoided confusion and named these programs differently?)

Wouldn’t Photoshop be better?

Before we discuss how to change colors in an image using the Lightroom Hue Control tool, I want to briefly address the Photoshop devotees in the crowd. More than a few times when I’ve told seasoned editors that I use Lightroom to edit my images, they will scoff and tell me that “real” photo editors use Photoshop. So let’s get this out of the way, especially as we discuss changing colors in an image.

I will be the first to admit that Photoshop has more sophisticated and precise tools, the ability to make selections, create layers, use color channels, and bring much greater control to what we’ll be showing here. However, Photoshop also has a much steeper learning curve. It also requires more steps to accomplish the task. Can you do a better and more precise job changing the colors of things in a photo with Photoshop? Most likely. But can you often get acceptable results with Lightroom (LrC, LR, or ACR)? Learn the techniques in this article and then you tell me.

What is hue?

Ask a child to hand you the red crayon from the box and they can probably do so. They know what the color “red” looks like. But in the digital photography world, we have different ways of describing color.

Cameras can only “see” three colors: red (R), green (G), and blue (B). And there are only 256 values of each.

That’s why you can describe any color by its RGB value. Pure red is 255, 0, 0; pure green is 0, 255, 0; pure yellow (a combination of red and green) is 255, 255, 0.

In the printing world, where inks and pigments are used to make colors, cyan (C), magenta (M), yellow (Y), and black (K) are the primary colors, and any color can be created with a CMYK combination (i.e., red is 0, 100, 100, 0).

One way of defining digital color is using the HSL model: Hue, Saturation, and Lightness (or Luminosity).

There is another way of describing color, and that’s the one we’re interested in when using the Lightroom Hue Control. This uses a Hue (H), Saturation (S), and Lightness (or Luminosity) (L) description. Here, hue is synonymous with what we typically call color. Saturation refers to the intensity of the color, with zero saturation being shades of gray. Lightness/Luminosity is how light or dark the color is, with zero being black and 255 being pure white.

A new hue for you

So what we’re able to adjust with the Lightroom Hue Control is just that: the hue. We can make an orange hat blue without changing the saturation (S) or lightness (L). In doing so, we retain the tone and texture in an image while changing its hue/color (H).

Making it local

Lightroom has had tools for globally adjusting color in an image, such as the temperature and tint sliders and the HSL/Color controls, for some time. But those tools worked globally or had limited control over color. With the newest version of Lightroom released in June of 2020 (LrC 9.3, LR 3.3, ACR 12.3), the ability to combine hue adjustment with other tools was added. Now, color can be controlled much more precisely, exactly where you want it, and in combination with other tools. Local control is the ticket.

If you’ve installed the latest version of Lightroom (LrC) or LR or ACR, you will now see this tool.

When, where, and how to use local hue adjustments

Perhaps a good way to learn how to use the new tool is to work through a photo and use it to selectively change some colors. We’ll use the image below of my grandson, William, (who to me in this shot looks like the Peanuts cartoon strip character Linus in the pumpkin patch awaiting the arrival of the “Great Pumpkin.”)

This is the edited photo of William (aka “Linus” in this setting). These are the original colors of the image.

The hat trick: Step-by-step

Let’s take this step by step and change the orange hat to blue using the Lightroom Hue Control.

There are three local adjustment tools in Lightroom: The Graduated Filter, The Radial Filter, and the Adjustment Brush.

We want local adjustment control, and I mentioned Lightroom has three tools that allow this: the Adjustment Brush, the Radial Filter, and the Graduated Filter. The Adjustment Brush is the best choice for selecting only the hat.

Select the Adjustment Brush, and turn on the mask overlay by hitting “O” on your keyboard or by checking the box that says Show Selected Mask Overlay.

Use the Adjustment Brush to roughly paint over the hat. Have the overlay on to see what you’re doing. Here I’ve made the overlay green to see it better.

Start painting over the hat with the Adjustment Brush. You may find that the overlay is red and hard to see on the orange hat, so you can cycle through the overlay colors by tapping Shift and O on your keyboard. I’d recommend turning the mask overlay green, which is much easier to see on the orange hat.

You are going to refine your selection in a minute, so for now, don’t worry about being precise.

Refining your selection

In Photoshop, we would likely make a selection of the hat using the tools provided. And once the hat was selected, we would see what has come to be called the “marching ants” dashed outline of our selection. Don’t look for the ants in Lightroom. There are no “selection” tools here. Instead, we use what are called masks to define where we want our effects applied. There are several ways to refine our selection. They are:

• Use the add and erase features of the Adjustment Brush. You can add to the mask simply by brushing where you want. This is the default and you will see a “+” symbol inside the tool indicating you are adding to the mask. Want to erase or subtract parts of the mask? Hold down the Alt key (Option on a Mac), and the + will turn to a – symbol, indicating you are now subtracting from the mask. Zooming in close and working with a small brush will allow you to fine-tune the mask.
• Another option is to check the Auto Mask box as you paint with the Adjustment Brush.
• A fairly new addition to Lightroom is the Range Mask tool. You have the option to use Color or Luminance to create your mask. Because the hat we are masking is all fairly close to the same color orange here, a range mask should work well.

Think of Auto Mask as an edge detection tool. Check the Auto Mask box and then use the Adjustment Brush to add (+) or subtract (-) from your mask.

If the Adjustment Brush shows a + sign, you can add to the mask. Hold down the Alt key (Option on a Mac) to remove portions of the mask.

Home on the range

So let’s refine our selection of the hat with the Color Range Mask. Here are the steps:

• Select the rough mask that you’ve already created. Then choose Color from the Range Mask dropdown.
• An eyedropper tool will appear next to the Range Mask menu. Click to pick it up, then bring it over the hat.
• Click the left mouse button and drag a small square over a portion of the hat to select a range of the orange colors. (Don’t worry about your mask overlay. It’s selecting the colors underneath.)
• When you let go of the mouse button, the mask will be refined to now cover only the color range you selected. (A tip here: Put the eyedropper back when you are done with this range selection.)
• To better see what was selected, hold down the Alt (Option) key on your keyboard and click the Amount slider for the Range Mask. You can drag the slider to refine the mask even further while doing this. Moving the slider to the right will increase the range of the selection; moving the slider to the left will decrease the range.

The Range Mask will allow you to refine your mask using Color or Luminance.

Using the eyedropper tool in the Color Range Mask, drag a box including samples of the color you wish to mask. Alternatively, click a spot, hold down Shift, and click another spot to choose multiple sample areas. When you let go, the mask will be refined.

To better see what the Range Mask has selected, hold down the Alt key (Option on a Mac) and click and hold the Amount slider.

A whole new hue

Once we’re happy with our selection, it’s time to change the color. Here’s where we will use the new Lightroom Hue Control. Here are the steps:

• It’s best to turn off the overlay option so you can better see the color shift, so press “O” on the keyboard. The overlay will disappear, but as long as the pin for your selection is still selected, you’ll be working with the right selection.
• Go to the rainbow-like Hue control slider. You will see the top slider is set at the existing color; in our case, this is orange. Now, drag the bottom slider toward the color (on the top slider) you wish to change to. You will see the color change in the masked area of the image as you do this. Release the mouse button when the color gets close to the new color you want.
• To further tweak the color, check the Use Fine Adjustment box. Now drag the slider left and right to refine the color as you like (it will barely move).
• You may find you need to refine your mask if areas were missed or overflowed outside your desired area. Use the methods outlined above to fine-tune your mask further.

With your mask selected, use the Hue slider to choose the new color you want.

Further tuning

While your mask is still selected, most of the rest of the Lightroom sliders can be used and will affect only the area in that mask. For example, if the new color is too light or dark, the Exposure, Contrast, Highlights, Shadows, Whites, and Blacks sliders can all be used. You may want to explore what some of the other sliders can do for the newly recolored area.

You may want to use some of the other sliders in Lightroom to refine your new color. Most will work locally within your mask while it is selected.

When you are finished with all the tweaks and recoloring, don’t forget to click the Done button.

Here’s a Before and an After. Notice I also changed some of the diamonds on his sweater using other masks, each done the same way.

Multiple masks and recolored areas

If you need to recolor another area of your image, simply make new selections and repeat the same process:

• Make a rough selection with the Adjustment Brush, Graduated Filter, or Radial Filter. Do this with the overlay on to see where you’re working.
• Fine-tune your selection
• Change the hue as desired. Check the Use Fine Adjustment box to get the color you want.
• Further fine-tune your area with the other sliders in Lightroom

Not just for clothing color changes

In the example above, the color change to the hat was pretty dramatic; we took it from the original orange color to the complete opposite complementary color on the color wheel (blue). Sometimes, though, you only want a subtle change. Perhaps you want to change the shade of green on the leaves of a tree, take out a color cast on a certain object in your shot, or slightly change the color of portions of the sky.

You might also want to omit the step of refining a mask, and simply use the Adjustment Brush, change the color with the Hue slider, and start painting. Subtle color changes to portions of your image might be a way to get the look you want.

The camas blooms are probably closer to the blue shade in the before shot, but for dramatic effect I used the Lightroom Hue Control technique here to make them more purple.

Snapshots along the way

When working on an image in Lightroom and trying new things, it can be a good practice to make Snapshots as you go. That way, if you want to go back to any point in your editing process, you can.

Click the + symbol in the Snapshot panel (or use the shortcut Control/Command + N), give the snapshot a name, and then continue your work. Later, you’ll be able to go back to the snapshot if required. Perhaps you want to show the various color versions of an item but don’t want to save multiple files. Change the color, make a snapshot, change it again, make another snapshot, and so forth. Later, you can bring up the image, go to the named snapshot, and see that color version.

A real plus of Lightroom is being able to make multiple versions without making multiple copies of a file. Work through your image, make multiple color versions, and use the Snapshot feature to save each color variation (all in the same file!). Also, notice here what a nice job the Color Range Mask did of selecting the background color of the blouse and allowing me to change it to purple while retaining the color of the flowers in the pattern.

Color your world

As Adobe adds new tools to its products, we have new ways of editing our photos. We can better achieve the creative looks we like and even have various versions of the same image (all without having to take multiple photos or make multiple copies of an image). I hope you’ll give the new Lightroom Hue Control a try.

And then post some of your before/after images in the comments. I look forward to seeing your creativity.  Share this article.

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Does Olympus Still Have a Place in the Camera Market?

 

 Tags: 

Olympus, Nikon, Fuji film, Posed Photography, Photographers, Photo Studio, Photo, Photoshop, Beginners, Advanced Users

 

By: Jaymes Dempsey 

 These days, all the camera headlines seem to be dominated by Canon, Nikon, and Sony, with the occasional mention of Fujifilm thrown in.

Olympus, with its Micro Four-Thirds system, rarely makes the news. And popular resources frequently neglect Olympus in their recommendations, suggesting “Big Three” bodies for photographers selecting a mirrorless system.

But what is this about? Why doesn’t Olympus, a camera company with a history stretching back to the early 1900s, get any attention?

Is this a mistake?

Or does Olympus no longer have a place in today’s camera market?

That’s the question that this article will answer. I’m going to explain the benefits and drawbacks of Olympus cameras compared to other manufacturers.

And then I’m going to give a verdict:

Whether Olympus is a manufacturer that still makes sense in today’s world…

…or whether Olympus’s time is up.

Let’s get started.

The cons of Olympus

No camera system is perfect, which means that there are going to be some photographers that won’t be satisfied with Olympus’s products.

Here are the key issues that consistently come up with Olympus cameras, issues that help explain why Olympus hasn’t been getting much interest of late:

1. The micro-four-thirds sensor

In many ways, the lack of interest in Olympus stems from one thing:

The Micro-Four-Thirds sensor.

Olympus only produces Micro-Four-Thirds mirrorless cameras. The company offers zero full-frame options and zero APS-C options.

Canon, Nikon, and Sony all produce full-frame mirrorless cameras. Even Fujifilm, which ignores full-frame, offers APS-C sensors that push smaller sensor technology to its limits.

Why is this such a big deal?

Larger sensors offer two key qualities over smaller sensors:

Better high-ISO capabilities.

And better dynamic range.

So if you’re someone who requires either of these features, you’re going to feel compelled to buy a full-frame option over a more limited MFT body. For instance, you’ll be hard-pressed to find landscape shooters who don’t use a full-frame body. Landscape photographers frequently deal with high dynamic range scenes and need to maximize low-light image quality, which is why a full-frame camera is the tool of choice.

2. Resolution

A larger sensor doesn’t guarantee high resolution.

But it is closely correlated with it. All of the high-resolution camera models in the mirrorless market today are full-frame.

And when it comes to the megapixel race, Olympus hasn’t been doing so well. The company’s most professional bodies top out at about 20 MP, with some of their models only coming to 16 MP.

Here’s the thing about megapixel counts:

While they often don’t much affect the average photographer…

…they are real attention grabbers.

A big portion of camera headlines is dominated by the latest megapixel marvels, which means that Olympus, with its 16 and 20 MP sensors, just doesn’t get much coverage.

Olympus’s OM-D E-M10 III only offers 16 MP.

And resolution is talked about so frequently that the need for a high megapixel count is burned into the mind of almost every beginner photographer.

Don’t get me wrong:

Megapixels do matter.

But they only matter to some photographers – those that need to maximize detail, printing sizes, or cropping potential.

For others, more megapixels are just a comforting spec, but not a feature that’s truly necessary.

3. Crop factor

Here’s the final issue with Micro Four-Thirds cameras:

You get a huge, 2x crop factor.

And this makes basic wide-angle lenses (e.g., in the 20-30mm range) become standard focal lengths.

For landscape photographers, this is a huge issue. For sweeping scenic shots, you’re going to need a system that can offer true wide-angle coverage.

Though this 2x crop factor can be a benefit for photographers requiring a lot of reach, such as those who shoot sports or wildlife.

4. Electronic viewfinder quality

It’s a fact:

Olympus’s electronic viewfinders just aren’t that great.

Their best cameras offer a 2.36M-dot resolution, and it just doesn’t look that good compared to many Sony, Canon, Nikon, and Fujifilm options.

So for photographers coming from DSLRs and requiring a clear, sharp EVF experience, Olympus’s options don’t cut it.

The pros of Olympus

Though Olympus doesn’t get much attention, there are things that Olympus is doing better than pretty much every other camera manufacturer out there:

1. Camera and lens size

One thing that Olympus does really, really well:

Camera system compactness.

This is where the micro-four-thirds sensor really starts to pay dividends, keeping camera body size way down and keeping lens size equally small.

In fact, while cameras by Sony and Fujifilm, in particular, are often very compact, these systems will often come back to bite you when buying lenses. Mirrorless glass is often as big as DSLR glass, and this can be a problem. For one thing, bigger and heavier is just a pain to deal with, plus big lenses feel unbalanced when mounted on a compact camera.

So if you’re a travel photographer, you’ll love how easy it is to pack Olympus kit.

If you’re a street photographer, you’ll love how small and unobtrusive Olympus systems really are.

And if you’re a wildlife photographer who spends days hiking in the field, having a light, small body can be a real lifesaver.

2. Shooting speeds

If you take a close look at Olympus specifications, you’ll see that a number of their cameras offer shooting up to 60 frames per second.

And I’m talking still photography, not video.

Let me clarify:

You can shoot at 60 fps with no caveats, no cropped sensor, no drawbacks (though it is with the electronic sensor, rather than the mechanical one).

This is a huge benefit for anybody doing high-speed or action photography. Of course, you’re going to fill up your memory cards pretty quickly if you use the 60 fps option all the time, but this high-speed option is dead useful in certain situations where you just can’t miss the shot.

And by the way, you also have an option to shoot in Pro Capture mode, which ensures that the camera starts taking photos when you press the shutter button halfway. Then, when you finally press the shutter button down all the way, the last dozen or so images are saved to your memory card (along with any images taken after you fully hit the shutter button). This is fantastic for getting unanticipated shots, be it in sports or wildlife or event photography.

So if you’re the type that wishes for serious high-speed shooting capabilities, the Olympus cameras are definitely worth a look.

3. Image stabilization

Here’s the final key benefit of Olympus cameras:

They offer the best in-body image stabilization of any mirrorless camera system.

Some Olympus cameras offer seven or more stops of stabilization when including a stabilized lens, which allows for handholding down to 1s and longer (depending on the focal length and the steadiness of your hands).

If you’re the type of photographer who prefers to work without a tripod, this is the absolute best possible way to do it. You can capture gorgeous scenics using narrow apertures and not have to worry about camera shake.

Plus, even for the tripod-happy photographer, there are going to be times when carrying such support just isn’t feasible. But if you have an IBIS-equipped Olympus camera with you, you’ll be able to get a similar range of shots without a tripod.

So does Olympus still have a place in the 2020 camera market?

Absolutely.

Though Olympus systems do come with a few drawbacks, they also include characteristics that no other camera manufacturer can match. Characteristics such as:

• Camera and lens compactness
• High-speed continuous shooting
• In-body stabilization

Are these benefits worth it for everyone?

No. If you’re a landscape photographer who plans to make huge, wall-sized prints, you’re going to want to pick a different system. If you’re a sports photographer who requires the best autofocus system that money can buy, Olympus probably isn’t your best bet either. And if you’re an event photographer who consistently shoots with four or five-digit ISOs, then I doubt that Olympus is for you.

But if you’re a photographer who prizes a compact system over everything else, someone who:

• Travels frequently
• Goes on long hiking trips
• Needs blazing-fast continuous shooting
• Needs an unobtrusive system for street photography
• Just hates being weighed down by heavy equipment
• Doesn’t like carrying a tripod

…then Olympus is going to be just what you need.

So before you buy a Sony, Canon, Nikon, or Fujifilm body, ask yourself:

Might Olympus be the better choice?

Maybe it’s not. You might do better with another system.

But it’s at least worth considering!

What are your thoughts on this? Do you have anything you could add? Please do so in the comments!

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Olympus Announces the OM-D E-M10 Mark IV, With 20 MP and an AF Boost

 

 

 Tags: 

Olympus, Nikon, Fuji film, Posed Photography, Photographers, Photo Studio, Photo, Photoshop, Beginners, Advanced Users

By: Jaymes Dempsey on August 10, 2020

Earlier this year, Olympus made news with the reveal that it will be selling off its camera division, yet it seems that the company plans to go full steam ahead (at least for now).

Because Olympus has just unveiled its latest Micro Four Thirds camera model, the OM-D E-M10 Mark IV, a compact, low-cost, travel-ready option for entry-level photographers and successor to the well-received OM-D E-M10 Mark III.

Olympus cameras are known for their small size and limited weight, thanks to the compact dimensions of a Four Thirds sensor. This makes Olympus models a favorite of travel and street photographers, especially when you factor in the size of the lenses (which are some of the most compact options on the market, and will feel positively dainty in your hands).

But the OM-D E-M10 Mark IV takes portability to a new level, coming in at just 0.85 lbs (0.385 kg), which is the lightest of any Olympus mirrorless model to date. It’s perfect for anyone looking to shave off weight from their camera bag, and stays featherlight even when combined with some of Olympus’s longer zoom lenses.

The main drawback to a Micro Four Thirds system is limited resolution, which is why the OM-D E-M10 Mark III only offered a 16 MP sensor. But Olympus has finally decided to give the Mark IV a megapixel boost, up to 20 MP for added detail, which increases both cropping capabilities and printing possibilities, though you should also expect a potential hit to high ISO performance and dynamic range.

Personally, I’d like to see a 24 MP MFT sensor, but this still isn’t a spec offered by Olympus’s higher-end models, so I doubt we’ll see it on a camera like the OM-D E-M10 anytime soon. Plus, 20 MP really is enough for most purposes, including relatively large prints, so there’s not really much worth complaining about.

Moving along, Olympus offers the best in-body image stabilization in the business, which is why you can expect up to 4.5 stops of IBIS on an entry-level model like the OM-D E-M10 Mark IV. This will allow for tack-sharp images at shutter speeds far beyond what would normally be considered possible, as well as smooth video recording (and did I mention that the camera offers 4K?).

As for additional noteworthy specs, the OM-D E-M10 promises improved autofocus over the E-M10 Mark III, thanks to upgraded tracking algorithms, as well as 8.7 fps continuous shooting speeds; also relevant is an interesting flip-down LCD design, which allows you to see previews of images and footage from in front of the camera, but by tilting the LCD below the camera.

Oh, and you get Olympus’s now-standard electronic viewfinder resolution, at 2.36M dots. I didn’t expect anything better (there are only so many upgrades you can make to a camera at a sub-$1000 USD price), but Olympus’s EVF game is frustratingly limited, even on its higher-end models, and I’d ideally like to see a resolution boost here.

The Olympus OM-D E-M10 Mark IV will debut in late September, for a relatively cheap MSRP of $699.99 (body only). It is available for preorder here.

Now over to you:

What do you think of Olympus’s latest mirrorless model? Are you impressed? Disappointed? Are there any features that the E-M10 Mark IV is lacking but that you’d like to have seen? Share your thoughts in the comments!

 

$63,000 CAMERA :: What do the images look like?

10 best free online photography classes

 

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Nikon, Fuji film, Posed Photography, Photographers, Photo Studio, Photo, Photoshop, Beginners, Advanced Users

 

 by Feature Shoot

 

Amid global lockdowns, online learning platforms have seen massive increases in interest worldwide. On Skillshare, for instance, daily viewers and minutes tripled from last year, and Udemy saw an online enrollment boost of more than 400% between February and March. In 2020, schools, universities, and institutions have all turned to remote learning, but so have individuals hoping to learn or refine a new talent—photography included.

At the peak of the crisis, brands ranging from Canon to Nikon, Leica to Fujifilm, and more rolled out free resources for photographers or made their existing courses free to the public. During this challenging time, experts say that keeping busy and discovering new ways to learn can foster confidence, community, and motivation. Whether you’re a newbie or a pro, we rounded up this list of just ten free photography courses you can find online today. 

 

 

 

Creative Photography Challenge with Lindsay Adler

CreativeLive has thousands of online classes, some free and others paid, and they also host CreativeLive TV, a free, live-streamed variety show open to all. The renowned portrait and fashion photographer Lindsay Adler has dozens of classes available for every budget, including this free course to keep you inspired.

As part of this bi-monthly series, Lindsay provides fun, out-of-the-box prompts and assignments, designed to get you out of your comfort zone, refine your artistic vision, and foster new skills. Challenges range from “making a mess” to “printing on alternative surfaces” (and many more); you’ll get creative ideas and pick up some fresh techniques along the way.

Each class is just five minutes, and students can share their images on social media using the hashtag #creativephotochallenge. There’s also a public Facebook page where you can join the discussion.

Camera Buyer’s Guide by John Greengo

Here’s another CreativeLive course, this time from the photographer and gear expert John Greengo, who teaches both paid and free classes. There are tons of gear reviews out there, but John breaks it all down, from models and brands to sensors and viewfinders. It’s also not sponsored by any brand, so he offers objective advice on what to buy, depending on your genre and area of expertise.

This course is also super specific, so chances are, you’ll be able to find a camera that’s perfect for your needs, whether you’re a student or pro, interested in sports and family or landscapes and travel. Even if you’re unsure about upgrading, John provides a valuable reminder of the basics of photography so that you can make the most of the gear you have. When it is time to upgrade, he has concrete recommendations—and some common camera purchasing mistakes to avoid. 

Lifestyle Photography: Everyday Storytelling in Photo & Print by Dan Rubin

You know that Skillshare offers thousands of classes through an affordable subscription, but what you might not know is that they offer many of their classes for free. This is one of multiple courses taught by the legendary travel and lifestyle photographer Dan Rubin. You’ll follow Dan as he spends the day with his friend Laura, capturing relatable, everyday photos that tell powerful stories.

The class is just 25 minutes, so you can watch it anytime, but it covers a lot of ground, from prepping for a shoot to editing for print and online. The assignment is fun and simple—“go on an adventure!”—and you can do it with family in the backyard or around your neighborhood during quarantine. Take this class during a free afternoon at home, and learn how to transform a casual day into a published photo essay.

Fine Art Photography: How to Create a Unique Self Portrait by Maureen Eggleton

This course, also from Skillshare and hosted by the portrait and fine art photographer Maureen Eggleton, walks you through the process of creating a single, unforgettable self-portrait. You don’t need a studio or any fancy gear, as Maureen teaches you how to make the most of what you have at home.

This class is all about breaking through your creative barriers and getting vulnerable; toss perfectionism out the window, and embrace your intuition. Maureen also shares great tips for gathering inspiration, finding your “happy place,” generating posing ideas, using available light, editing in Lightroom and Photoshop, and more. Throughout, she also shares creative prompts to get your brain flowing, each of which takes just one to five minutes tops. 

Outdoor Social Distancing Portraits by Tony Gale

The B&H Event Space is offering free seminars and lectures throughout the summer via Zoom, including this one, sponsored by Sony and taught by the award-winning portrait photographer Tony Gale. Available on August 12 at 5:30 PM EDT, this course will cover portrait photography in the age of social distancing, including best practices and tips for getting creative and staying inspired during this time. 

Photo History by Jeff Curto

The photographer and professor Jeff Curto taught at College of DuPage in Glen Ellyn, Illinois, from 1984 until 2014, and he’s kept a full semester of his History of Photography Class Sessions available to the public via his website (he also has a podcast based on his lectures). Sessions cover the early experiments of Daguerre and Fox Talbot, the oeuvres of Stieglitz and Muybridge, the tenure of John Szarkowski at MoMA, and much more. As you listen to each class, students can access resources, texts, and ebooks through the site.

Introductory Photography Course by Chris Bray

The Australian Geographic wildlife photographer Chris Bray has been teaching this course since 2009, and now, it’s available for free via Udemy. He covers just about every subject you can imagine, from composition to exposure to camera settings and lighting. It’s geared towards beginners, but it’s also perfect for pros wanting to brush up on the basics. Sick of shooting on auto mode and ready to get the most out of your camera? This is the class for you.

Understand Photographic Exposure by Kasia Zmokla

This course from the artist Kasia Zmokla, also available on Udemy, breaks down the nuances of the exposure triangle for perfectly lit images. She’ll teach you about ISO, aperture, and shutter speed, and she’ll also walk you through understanding your camera’s histogram so you don’t get any clipping in the shadows or highlights. The explanations are both thorough and digestible, enabling you to harness the power of light—and your camera’s technical ability—to capture images that reflect your vision and mood. 

Creating Mood and Mystery in Your Street Photography by Sean Tucker, feat. Joshua K Jackson

This episode of Sean Tucker’s much-followed YouTube series, which focuses on substance and philosophy over tech and gear, follows Sean and the street photographer Joshua K Jackson as they explore Soho in London. In this tutorial/interview, you’ll get tips for using light and color theory, noticing overlooked details in your everyday surroundings, abstracting the environment, and capturing the spirit of a specific time and place. 

How to Shoot Food on Your Phone Like a Pro by Joanie Simon

The food photographer, blogger, and educator Joanie Simon hosts tons of courses via her popular YouTube series The Bite Shot, including this one on mobile photography. The course is under 15 minutes, but it’s jam-packed with actionable tips, from insight on camera settings and third-party camera apps to composition and natural light tricks. Want to adjust white balance or focal points, or learn how to shoot RAW on your phone? Joanie has you covered.

The workshop is all about food photography, of course, but you’ll also pick up some skills that’ll help you take better pictures on your mobile device in any situation, regardless of genre. Be sure to hit “subscribe” once you’re done for more of Joanie’s videos, with subjects ranging from backdrops to flatlays and everything in between.  Share this article.

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 We're back...

Thanks for coming back today.  We missed posting yesterday due to an electric power outage.  Trees were blown over, power lines were down, and electric transformers blew out.  Power in our area was restored around 9:35am this morning. Enjoy the posts below. 

How to Organise a Fashion Shoot in 5 Easy Steps

 Tags: 

Makeup, Lifestyle Photography, Posed Photography, Photographers, Photo Studio, Photo, Photoshop, Beginners, Advanced Users

by Olivia Vitazkova

Recently I’ve been asked more and more about how I go about organising a photo-shoot.

It was mainly asked by my new flatmates who were surprised at the constant influx of strange, good-looking people in our tiny kitchen. The place would get transformed into a showroom, with enough makeup and clothes to be suspected of robbing a department store. The flatmates would look at me with a mixture of suspicion and curiosity: „Where do you get these people? How do you organise a photo-shoot?“ So I explained and then I thought that some of my knowledge can be useful for new photographers, thinking of planning their first big fashion shoot.

1. Theme

One of the most important things you need to consider is the theme or the concept of your photo-shoot. This will determine all your other choices including makeup and location. Your theme can be anything. You can start with a simple idea say „romantic picnic in a park“ from which we can already decide that we want an innocent looking young girl with long blond hair and maybe a male model to keep her company. Styling – romantic pastel colours, skirts and dresses. Makeup – natural. Location- park. Nothing too complicated, you just come up with an idea and then organise everything else to fit your vision.

Despite this, I must confess that I rarely start organising a shoot with a precise theme or idea I have to execute. I usually start by getting into contact with a model I find interesting and think about what sort of concept would they suit best, essentially constructing the concept to fit the model. Either way you end up with some sort of a theme or idea, which is great for editorial work/fashion spreads as it will make the series of photographs look coherent and consistent.

But sometimes I don’t even bother with that. That is what I call an improvisation shoot, and these are usually the most fun ones. It usually happens when it’s a last minute casting call and I don’t have much time to think/prepare but want to shoot. I tell the model to bring a big bag full of clothes, and we’ll mix and match on the spot and do the makeup accordingly. This is fairly easy and fun as it doesn’t require much preparation beforehand. However, you need to think on your feet once the team assembles. This can result in either fun and inspired photos or some fairly boring safe ones. The good thing is that there is no one director and everyone can bounce ideas off each other and have an input. You could maybe do two looks wildly different from each other depending on what photos people need. It’s a good way to go about getting portfolio work done but probably not a coherent editorial.

2. Models

Models can often either make or break the shoot. Depending on your theme you should decide on the look she or he should have. Think whether they should have any specific features (tattoos or no tattoos) or abilities (e.g. dancing) that would be useful for the shoot.

But first of all, how to find models? Professional photographers often go straight to modelling agencies which make the process of choosing models easier, and more reliable. Unfortunately it’s not very budget friendly (unless you already have an amazing portfolio) so let’s explore some free alternatives.

There’s a lot of websites for models and photographers, such as modelmayhem.com which enable you to search and connect with models, stylists and makeup artists in your area. The best thing is to offer a TFP (time for prints/photos) photo-shoot to models on your level of experience, this way you’ll both get something out of it and you’re less likely to be rejected. First make sure you already have some good photos of people uploaded on your profile. If you’re just starting out and have no pictures you can always find a lot of freelance models willing to work for a small fee. Hiring a model might cost you, but you should be getting a model who knows what she’s doing, and is highly motivated not to cancel on you, and with your new amazing photos more people will want to work with you.

Lately however Facebook became more dominant due to the ease of posting casting calls and getting replies instantly, there’s several Facebook groups for models and photographers so try to find and join one for your location, or create a new one.

Your friends and family are another option, even if they don’t look like supermodels, fashion is for people of all ages. You can even stop people on the street if you see someone absolutely incredible. I’ve done it once and had a photo-shoot with a lovely green-haired girl I probably wouldn’t have met otherwise.

Okay, now you’re in contact with your model. Great. It’s always best to get a feel for her experience before the shoot, so you know what to expect. Is she new to modelling as well? Then you’d better read something about posing (the DPS has a great series on posing) or maybe just do a beauty shoot where it’s less about the body and more about makeup (and expression). For the first few photo-shoots I’d recommend working with just one model as posing multiple models can be quite challenging, but nothing wrong with starting big.

3. Fashion Team Assembles – Make-up & styling

The other person you need the most is the makeup artist, or as we call them – MUA. I love these guys, not only they make the model look more beautiful than before (or crazy, depending on the look you’re going for), but they can often double as assistants. I often make them carry my bags and shine the reflector during the shoot, which is probably not what they thought they’ve signed up to do. Also it’s great to have another pair of eyes on set as they may notice little details that you’ve missed, like hair in the face or wardrobe malfunctions, while you were concentrating on exposure and composition. So yes, makeup artists are indispensable.

But how do you get hold of these wondrous people? Don’t worry, it’s pretty much like finding a model. A lot of people study makeup these days and need photos for their portfolios so are keen to help out on a TF basis. You can also ask your model about them if they’re more experienced, as they would often have a favourite MUA they can contact for you. Score.

Now it’s time to think about what sort of clothes the model will be wearing. Contact a stylist, local designer or a vintage shop to help you with sourcing clothes for your big photo-shoot. These people are generally quite difficult to reach so don’t get disappointed if you can’t find anyone. You should try and be proactive in the local fashion community, going to vintage fairs, fashion shows and socialising with people there, actually that’s a great way to meet models and MUA’s as well.

Okay, now you’ve gathered a team of people – model, MUA and a stylist, you may also need a hair stylist or an assistant, depending on what your shoot needs. The next step is to think of what makeup and clothes you need based on your idea. „The girl next door“ should not have the same makeup and clothes as „the biker chick“. Look for inspirational images for makeup and clothes in magazines or on the internet and send them to your team, so you know they’re on the right page regarding your idea. You can print these out and make a mood-board that you can use during preparation.

Nothing worse than telling the MUA to do whatever she wants, then deciding after she’s finished an elaborately creative look that you want something more natural. Or not telling the model what clothes she should bring and getting disappointed that nothing fits your vision. Or bringing clothes yourself but realising they won’t fit the model. Communication is key so make sure that everyone is on the same page.

4. Location & Logistics

Regarding communication, the most difficult thing will probably be deciding on the right date and time (unless you send out a casting call with exact time and date and got suitable replies, in which case I applaud you). Hopefully everyone in your team will be free on the same date.

You also need to pick where you’re going to shoot, is it a studio, indoor location or outdoors? Yet again, the location should fit your theme.

You also need to decide where you’ll do the makeup, I usually just gather everyone at my place as it’s convenient and easy to get to, but might not work for everyone. You can use someone else’s flat, studio or a public place – once we had to do the makeup in Starbucks, and we didn’t even order anything, now that’s shooting on a budget…

Anyway, try and keep in mind that the makeup will probably take about an hour and a half, the resulting time will depend on various factors such as model’s skin, intricacy of makeup and just how much fun you’re having while chatting away. Therefore make sure to factor in makeup time, and always give it more time than you think just so you wouldn’t accidentally miss the golden hour, or pay more than you expected if you’re hiring a studio.

5. The Shoot (Preparation & Action)

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Preparation

Stare at your mood-board obsessively. List in various magazines for inspiration for poses and lighting. If you have already not done so, scout your area for the locations you’re gonna shoot in. Make sure you’ve got your equipment ready, charged and sparkling clean.

Day before the shoot, message everyone to confirm the shoot. Make sure you’ve got everyone’s number and that everyone’s got your number and know where they’re going and when. In case it’s an outdoors shoot and the weather is supposed to be bad decide on a plan B (my plan B usually involves telling people to bring umbrellas, I live in Scotland so I’m more surprised when it’s not raining at my shoots).

On The Big Day

Be nice. If you’re hosting the event make sure to offer everyone at least a glass of water or a cup of tea. Sometimes things go wrong, trains are cancelled, things forgotten etc. Even if things are not going your way, it’s no use getting upset, and making everyone else in the team feel bad. Instead take it as a challenge.

Make sure to notice the little things, don’t get too trigger happy only to be disappointed by the photos because the model has the same pose on every photo or there’s a bra strap poking out. Your makeup artist or assistant might notice some of these things and fix them, but don’t get too caught up in the moment to forget directing when it’s needed. Expression is also extremely important so make sure you’re communicating with the model, making everyone feel relaxed and content. Your model might look stunning with her makeup and clothes in a gorgeous location, but if she looks awkward the picture won’t work, but don’t worry most people will get right into it after a few frames. Just remember that you’re creating images, not shooting wildlife, although with some models it might as well feel like it.

But most of all, don’t forget to have fun.

Then, what’s next? Edit your pictures and send the best ones to the team, you can then submit to magazines or slap them on to your website… and start planning your new photo-shoot.

Good luck!

 

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Makeup Artists – Why you Need One and How to get One for Free

 

Tags: 

Makeup, Lifestyle Photography, Posed Photography, Photographers, Photo Studio, Photo, Photoshop, Beginners, Advanced Users

 

 

By: Elizabeth Halford

There is a debate about whether a makeup artist is a necessity or frivolity at a photo shoot. I know you can do amazing things with Photoshop, but c’mon people – no makeup artist?! Has the world gone insane? As a former professional makeup artist, I will tell you exactlywhy you need a ‘MUA’ and how to get one for f-r-e-e.

Before you take my word for it, I’ll tell you quickly why you should listen to me.  I was a professional MUA for five years before diverting to photography. I was the key artist for national television, magazine shoots and have done a gazillion weddings. Weddings where, I might add, the wedding photographers often found a way to get in touch after just to say they were amazed at the difference my techniques made to their job photographing the bride. So you can take it to the bank: sometimes, you will need a MUA. Ok. Done tooting my own horn. Back sufficiently patted.

Why You Need a MUA

1.} ‘M’ is for More – You’ve heard it said: “you need more makeup for photography”. It’s probably going in one ear and out the other by now. But it is absolutely reason #1 why you need to think about makeup. The camera wipes away more than half of a gal’s face paint. I wish it were that easy to wash it off before bed! A MUA will have the proper coverage products to do the job. Just packing on extra doesn’t work – you need more coverage, more pigment, different colours.

2.} Who has the time to erase blemishes on 50 headshots? Or clone out dark circles? Just let the MUA worry about it so you don’t have to.

3.} Happiness is underrated – Your clients will be happier I guarantee it. Lots of women feel more comfortable when they’ve ‘got their face on’ and the hair & makeup process eases them into their session. They feel pampered and fussed over and that, in turn, will make them more confident for their session and happier with the results. Plus, your business will seem more obliging and thoughtful and clients always appreciate the extras.

How to get one

By way of definition, let me mention that a beautician is not a makeup artist. A hair stylist is not a makeup artist. A cosmetologist is not a makeup artist. A veterinarian is not a makeup artist (get the point?:) A makeup artist is a makeup artist. And not all MUAs do hair. Personally, I would find someone who does both for the full effect.

1.} Online – there are a few different sites where you can find talent of all sorts. I used to use Model Mayhem to find makeup jobs in my area. You can do a search for MUAs with all sorts of backgrounds and experience who are willing to work in exchange for money or simply TFP (‘time for prints’) which means they want a copy of the images for their portfolio.

2.} Schools – find a makeup artistry school near you with students looking for experience. Here are a few to get you started.

3.} Sales gals – Over on the forum here at DPS, there’s a discussion about professional MUAs and whether they are needed or not. One poster suggested finding a Mary Kay beauty consultant near you because they ‘aren’t allowed to charge for their services’. You’re right, they’re not allowed to charge but technically, neither are they allowed to apply makeup. Calling you local MK rep is a great idea and very resourceful, but you’ll want to check that she is allowed to be doing makeup. Also, MK reps aren’t trained to do makeup – it is a sales job and there is very limited emphasis put on makeup training. They are not makeup artists.

4.} Cough up – after years of experience, I would absolutely go the experienced MUA route and cough up the dough. A way of getting a MUA without the pinch to your pocket is to counter their fee into yours or offer a MUA as part of a package or an added option. An experienced MUA who no longer works for free is definitely the fool-proof way to go if you don’t want to have to deal with inexperience.

You’ve read all the way to the end and now you know why you absolutely positively without a doubt need a makeup artist at your next shoot! 🙂

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This weeks' Photography Freebie

The basics of photography

By Adam Dachis, is a PDF eBook that covers the very basics of photography, starting with the camera and how the camera works.

Overall you will learn how to take better photos by understanding how your camera is working. 

Get your FREE copy here:   https://bit.ly/37jibaZ