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Photoshop & Other Software

Outdoor Photography Techniques

Sharpen your Adobe Photoshop techniques with Outdoor Photographer. Our articles offer Photoshop tips on topics ranging from resizing images to enhancing color. Begin your lesson in Photoshop for wildlife and nature photography now.

Monday, October 1, 2007

Tilt & Shift To Boost Your Megapixels

While tilt-shift lenses can be used for both practical and extreme purposes, they also can be utilized to increase your image file size and creativity in unexpected ways

Why not create your own focal length? This concept rattled around in my head for some time after going digital. Then again, many things rattled around in my head after I went digital. But one concept that rattled louder than others was how to utilize a moving lens mounted on a camera body to achieve multiple formats and compositions. With this in mind, I started using a Canon tilt-shift lens and began combining two offset digital files of the same scene. I began creating new compositions and aspect ratios and also increased the file size of my images—all without the use of panoramic equipment.

Wednesday, August 1, 2007

Luminosity Control In Photoshop

What does it take to visualize luminosity in black-and-white and color photography, then see and control it in Photoshop?

Luminosity is represented in a photograph by tones of black, white and gray. Luminosity is light. It represents all that we can see about the world we photograph. Every object, event and mood depends upon visible light represented by luminosity in the photograph.

Wednesday, August 1, 2007

As Simple As Black And White

Shoot in B&W or convert in Photoshop? That is the question...

If you’d like to simulate the results produced by specific films or film/developer combinations, reach for Exposure from Alien Skin. Based on detailed analysis of actual film stock, Exposure not only re-creates the film coloration and contrast, but also actually reproduces the size, shape and color of the film grain. If you like the look of push-processed Kodak TRI-X, for example, you can re-create it digitally—with authentic results. Exposure performs other editing functions as well. The options include a monochromatic toning filter set (blue, gold, sepia, selenium and sulphide) that allows you to re-create the look of old-fashioned image recording techniques.

Tuesday, May 1, 2007

Adobe Photoshop Lightroom

Lightroom is a program designed for photographers and the way they work

Adobe Photoshop Lightroom has grabbed the attention of many photographers, and for good reason. It’s a significantly different way of approaching images than Photoshop, Photoshop Elements or any other traditional image-processing software.

Tuesday, May 1, 2007

The Sky Solution

Using Photoshop to repair problem skies when the light is too contrasty for your film or sensor to record properly

One of the great challenges I find with photography is the inability to capture the full range of tones and colors I see in a scene. My camera just isn’t capable of doing that. This Photoshop technique allows you to repair an image that didn’t record the original scene correctly, turning a throwaway shot into a photo suitable for framing.

Monday, January 1, 2007

The Myth Of Protective Underexposure

Hamlet's new D-SLR dilemma: to underexpose or not to underexpose?

I know you’ve heard this or something like it: "I always underexpose my digital files. I want to be sure my highlights are protected, so underexposure, for me, is like insurance for the highlights. Anyway, I shoot RAW, so it really doesn’t matter if my image is underexposed."

Wednesday, November 1, 2006

Understanding Layers

Use these tips to make the most of this key Photoshop tool

Working in an image-editing program without utilizing Layers is, from my perspective, like using a pro SLR and leaving it on manual all the time. You’ll still be able to make quality images, but you certainly won’t be taking advantage of all the technology that makes life easier!

Thursday, June 1, 2006

Craft & Control In Photoshop

Interpret a scene optimally to match your vision of the subject

One of the great challenges for any nature photographer is to use photographic tools, such as lens, filter, film, flash and digital camera choices, to control the photographic process so that you can interpret the world true to how you saw the scene. Perhaps an even greater challenge, though, is to use tools with discretion and craft—in other words, use that lens choice in a way that enhances the subject, the filter so that its use doesn’t overpower the subject, the film so colors aren’t garish and the flash so it doesn’t look alien.

Saturday, April 1, 2006

Of Mice & Tablets

A graphic pen and tablet can make a difference in the digital darkroom

How do you work with images in the computer? I’m not asking what program you use, what file formats are preferred or even if you use Mac vs. Windows. Nor am I wondering what workflow you choose or if you have a certain style of image processing.

Sunday, January 1, 2006

Do Away With Gray

Reveal the color and contrast in your murky digital images

Thursday, December 1, 2005

16-Bit Challenges

When do you really need the 16-bit capabilities of RAW files?

More isn’t always better, but sometimes it helps. More strokes in a golf game is a bad thing, while more runs is good for baseball (unless you’re on the losing side). More heat is great for baking bread, but awful for storing eggs.

Monday, August 1, 2005

Hue & Saturation

Change and enhance color with precision using this adjustment tool

The Hue/Saturation adjustment is found in most image-editing applications, and offers one of the best ways to change colors both globally and selectively. This easy-to-use tool creates remarkably different looks to your color images.

Friday, July 1, 2005

Beauty & The Beast

Tame the large files produced by a high-resolution digital SLR

They’re beautiful—one look and I’m captivated. I stare and find myself absorbed by every detail. If this isn’t love, it’ll do. As a card-carrying photo geek, I admit that looking at digital files produced by the new 12- and 16-megapixel SLRs leads to a rush that normally means a trip to the confessional. Okay, maybe I exaggerate, but not by much.

Tuesday, March 1, 2005

It's Not Just Megapixels

Image quality in a digital camera is affected by much more than how many pixels fit its sensor

Saturday, January 1, 2005

Keeping The "Phun" In Photography

Use a digital workflow that works for you

One of the reasons I’ve been photographing since I was a kid is because it’s fun. I’m guessing that’s why you enjoy the medium, too, and why you read a photo magazine. Digital photography, especially, has reinvigorated the craft, restoring the fun I had when I first started taking pictures. Anyone who has known me for a while knows that when I’m excited about something, I like to share it with everyone. With that in mind, I’d like to help you use the new technology for digital photography without the fear of doing it right or wrong, but just to have fun with the process. You really can’t screw it up. If you take a poor picture, you can see it immediately in the LCD. No harm done; just delete the shot and try again. Not sure how to use a histogram? Try some different exposures of the same scene and compare the histograms and see what happens. Photography is a visual medium; the LCD makes digital technology visual, too.

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