[Photography] 4 Marketing Mistakes – How NOT to Promote Your Photography Business

You can market your photography business in hundreds of different ways — some incredible effective, and some a total waste of your time. Here are four marketing mistakes or wrong ways to promote your photography business and what you should be doing instead.

Mistake #1 – You’re Too “Professional”

By no means does this mean you should act or present yourself unprofessionally in your photography business — but often we hide behind a front of professionalism. If being a professional means a headshot on your website holding your camera (or no headshot at all) and a story about how you love love, and love photographing weddings, it’s unremarkable. Every other photographer does and believes those things.

Through trying to be perceived as a professional, you’ve becoming boring! Yes, you need to conduct your business professionally – but add some zest to your brand. What makes you unique as a human, and therefore, a photographer?

What 5-10 things could you talk about all day? Which things make you excited? What 5-10 things do you dislike? What are 5-10 ways you could describe your personality and your images?

Brainstorm the list of you! Get clear on your interests, personality, photography style, brand, and voice and consistently communicate this uniqueness to your clients.

It’s simple to do a brand audit of your website, blog, and social media accounts. Within 30 seconds, would a new client know what makes you different? What facts will they remember? This is the key to non-boring, but still professional marketing.

Mistake #2 – You’re Advertising Without Intention

In the name of honesty, I have never paid to advertise my photography business. But I’m not against advertising in magazines, wedding shows, or placing Facebook ads. However, advertising without intention is a big marketing mistake many photographers make.

Before you pay hundreds or thousands of dollars for an ad, ask yourself this question, “Is my ideal client hanging out here?”

If you’re not clear on who your ideal client is, that will be the first step! Think back to some of your favorite clients and scribble a list of describing words about their personalities, wedding day, and photos. After you’ve reviewed at least 10 of your past couples, circle any common themes that occur.

Testimonials are a gold mine for sketching out your ideal client. If you don’t have one already, start a document with feedback from your clients and look for themes. What are clients most excited about after working with you? A few more details to include in your client profile include their age, location, career, income bracket, and hobbies.

Once you get clear on who your ideal client is, then you can filter every advertising opportunity through your client profile. Would your ideal client be looking for a wedding photographer in that magazine, at the bridal show, through Facebook ads? If so, wonderful but if not, perhaps your marketing efforts and dollars are best spent elsewhere.

Mistake #3 – You’re EVERYWHERE on Social Media

You have a limited amount of time to market your photography business, and you have to make your moments count. Before you get involved on Google Plus, Pinterest, Facebook, Twitter, YouTube, Tumblr, Instagram, etc. – pause.

Is your ideal client finding their wedding photographer on that platform? If you’re not sure — a good place to start would be surveying your past clients and asking “Where did you find me?”

Chances are that a few social media platforms (2-3 maximum) are bringing in most of your inquiries. The other platforms are a waste of your time. For photographers, I have found Instagram and Facebook to be front-runners, perhaps with Pinterest as a third. But you’ll have to investigate the stats for your business.

Once you’ve narrowed down the platforms you want to pursue, let go of the ones that aren’t working! On your chosen platforms, engage consistently with a mix of personal and business posts – sharing your face regularly, sharing work you love and calling prospective clients to action.

Mistake #4 – You’re Sending Cold Emails

One of the best ways to market your photography business is building a strong network within your own industry. By this, I mean connecting with other photographers as well as wedding vendors and venues. However, sending cold impersonal emails is the wrong way to market your business.

If you want to send emails that not only get read but receive a reply back, make sure you do your research. Before you send an email, follow their accounts on social media, leave comments on their blog — so do that at least a week in advance of emailing. When you email, keep it short and to the point. Genuinely compliment their work. Share who you are, what you want and how you can help that person achieve their business goals.

Practically, this may mean helping a vendor by providing free headshots of their staff, photos of their storefront, or offering to help them improve their website or blog one afternoon. Most industry leaders want to help, they were new once as well – but not at a disadvantage to their own time.

If you want to connect with a fellow photographer, asking them for coffee for “tips” is a terrible way to get an email response. Instead, focus on relationship building, helping them in their business, sending a gift in the mail and asking to take them out to their favorite lunch spot. I guarantee your “cold emailing” success rate will increase if you follow these tips

Conclusion

What other mistakes have you make marketing your photography business, or seen others make? Please share your ideas in the comments below.

All the best to you as you work to market your photography business!

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[Photography] Five Common Portrait Retouching Mistakes to Avoid

When it comes to retouching portraits there are a number of mistakes that I see photographers make over and over. Part of the problem is that there are too many poorly made skin smoothing plugins. Another is that Photoshop gives you too many options for portrait retouching. There is a simple solution for this which I’ll mention at the end of the article.

In the meantime, let’s look at the most common portrait retouching mistakes photographers make so you can avoid them. Don’t feel too bad if you are making any of these errors. Consider it part of the learning process. You’ll learn to avoid these mistakes as your retouching skills improve.

1. Applying too much skin smoothing

This is a problem you see in commercial photography as well as in the work of hobbyist photographers. If you look closely at a typical cinema photo or a perfume advertisement you’ll see that the models and actors are often retouched to the point they are nearly unrecognizable. They certainly don’t look real or authentic. When this happens in the commercial world it’s little wonder that other photographers imitate what they see and make the same mistakes.

My advice is to consider whether skin smoothing is required in the first place and if it is to apply it with the lightest possible touch. Most photos of men don’t require skin smoothing. It’s conventional to apply some skin smoothing with most portraits of women, but it’s also important to retain skin texture to avoid the plastic skin look.

Two versions of the same portrait. The one on the left has had too much skin smoothing applied. The one on the right has less skin smoothing. You can still see skin texture and the result looks more natural.

The best way to apply skin smoothing that I know of is to use the Adjustment Brush in Lightroom with the Soften Skin preset (this preset comes with Lightroom and affects the Clarity and Sharpness sliders).

When you first apply the preset you’ll see that it’s very strong and as a result the effect is overdone. But you can get around that easily by clicking the black triangle above the Adjustment Brush sliders (below).

When you do so the sliders disappear and are replaced by a single Amount slider. You can set it anywhere from 100 (full effect) to zero (no effect). This lets you apply the skin smoothing effect with a light touch that retains skin texture.

2. Making the model’s eyes bigger

Amongst some photographers, it has become trendy to use Photoshop’s Liquify tool to make the model’s eyes bigger. The idea behind it is simple – large eyes are considered appealing, and enlarging a model’s eyes makes her more attractive.

Where this theory falls down is that most people are smart enough to recognize when this has been done, especially if they know the model personally. It results in an unnatural looking portrait that has lost any authenticity.

3. Making the model’s eyes too bright or too sharp

One of biggest advantages that software like Lightroom and Photoshop has given photographers is the ability to make highly accurate local adjustments. But it’s so easy to make the model’s eyes whiter, brighter or sharper that many photographers do so without thinking about whether or not it looks natural.

A better approach is to apply the effect subtly and zoom into 100% to check that it looks realistic. Go too far and you end up with a portrait where the model’s eyes attract attention for the wrong reason – they are over-processed rather than being the windows into the person’s soul.

4. Applying too much Clarity

Even professional photographers make this mistake. Recently I saw a friend’s wedding photos and my first thought was that the photographer had applied way too much Clarity, making her look older than she really is. Of course, I didn’t say anything as I didn’t want to spoil her enjoyment of her big day or the wedding photos. But if the photographer had photographed my wedding I would have been very disappointed with the results.

Adding Clarity emphasizes skin texture, blemishes, and wrinkles. For this reason, it’s usually a bad idea to apply it to portraits of women. Normally you do the opposite and apply skin smoothing (which is a negative Clarity adjustment in Lightroom).

With men it’s different. You may want to apply Clarity in order to emphasize skin texture and make the model’s face appear more rugged. You have to judge it on a case by case basis as every portrait is different.

The key, once again, is to apply it subtly rather than with a heavy hand. Your processing technique shouldn’t draw attention to itself.

5. Over-sharpening

This is another big mistake that I see photographers make. Over sharpening can come from several sources. For example, if you use the JPEG format rather than Raw then remember that your camera sharpens the photo for you. Any sharpening you apply in post-processing is applied on top of an already sharpened photo.

If you use Raw there is very little need to set Sharpening to anything other than the default settings in your Raw converter. It’s rare that any additional sharpening is required on top of that. Remember that the effect of Sharpening is heightened if used in conjunction with applying Clarity.

The best approach to Sharpening is to use your software’s default settings and to never apply any additional Sharpening on top of that. If you do apply extra Sharpening, you need to zoom into your portrait to check the effect on the eyes and eyelashes, as this is where artifacts caused by over-sharpening are most likely to appear.

Note: Remember to use the mask feature of the sharpening tools in LR and ACR. That will help keep the sharpening to only edges and not smooth areas like skin or sky. 

Conclusion

Another aspect we haven’t discussed yet is to think about exactly what you want to achieve with your portrait processing. For example, you have probably guessed by now that I favor a natural, authentic approach to portraiture. That means using natural light, prime lenses, wide apertures and minimal processing. These techniques help me achieve the look I’m after.

Other photographers may be more commercially minded. If this is you, then a slightly more heavy-handed approach may be required. Even so, it’s wise to apply skin smoothing and other portrait retouching techniques subtly, rather than over-process your portraits.

At the beginning of the article, I mentioned a simple solution to the problem of over-processing portraits. The solution is this – use Lightroom. Don’t use Photoshop and don’t use a portrait retouching plugin.

There is no Liquify tool in Lightroom so you won’t be tempted to change the shape of a model’s eyes or face. There’s only one skin smoothing preset, so you should be able to avoid the temptation to over smooth the model’s skin. There is no high pass filter or other fancy sharpening techniques, so this should prevent you from over sharpening your portraits (be careful with the Clarity slider though!).

What are the most common portrait retouching mistakes you’ve seen or made yourself? Let us know what you think in the comments below.

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Mastering Lightroom ebooks

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[Photography] Weekly Photography Challenge – Dogs and Puppies

Last week we photographed our feathered friends, how about some furry ones this week?

Weekly Photography Challenge – Dogs and Puppies

Need some help? Try these articles:

• How to Take Better Action Photos of Dogs
• Pros and Cons of Photographing Dogs with a Prime Lens
• 10 Amazing Camera Hacks for Better Dog Photography
• How to Photograph Agility Events and Other Dog Sports
• 5 Good Reasons to Take Your Dog on Photography Walks
• 6 Tips for Working with Unruly Animals in Pet Photography

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

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[Photography] How to Choose the Best Portrait Lens According to Three Professional Photographers

Here on dPS, we’ve covered this topic in previous articles. For example: How to Choose the Perfect Portrait Lens.

In the following videos, see which lens these photographers chose and why.

85mm versus the 70-200mm f/2.8

Portrait photographer, Manny Ortiz takes you to a live shoot in this video. Watch as he shoots the same subject, in the same location with both the 85mm f/1.4 and a 70-200mm f/2.8 lenses.

See how they differ and watch all the way to the end to find out which is his favorite lens and why.

Is there such a thing as the “best” portrait lens?

In this next video, Gabriel Sanchez (Gabe) talks about the four lenses he uses most often for portraits and which are his go-to and favorites.

He goes over the 24mm f/1.4, 35mm f/1.4, 50mm f/1.2, and a Sigma 85mm f/1.4, and the benefits and results you can get with each lens. See why he says there is no “perfect” or best portrait lens, watch to the end.

Favorite lenses – fashion photographer

Finally, get a different point of view from fashion photographer Julia Trotti as she explains why the 35mm f/1.4 and 50mm f/1.2 are her favorite lenses.

Which lens do you use for portraits?

So at the end of the day which lens are you going to choose for doing portraits? Do you have any favorites? Tell us which lenses you use and why in the comments below.

If you’re still undecided here are some more dPS articles to help you out:

• 3 Tips for Taking Portraits with a Kit Lens
• Tips From a Pro to Help You Know Which Lens to Choose
• Primes Versus Zoom Lenses: Which Lens to Use and Why?
• Comparing a 24mm Versus 50mm Lens for Photographing People

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[Photography] Five Ways to Take Your Macro Photography to the Next Level

Macro photography can be incredibly rewarding. However, it can also be frustrating if you find yourself shooting the same photographs over and over again, struggling to improve. You find yourself uninspired. Trust me, I’ve been there.

But there are a few simple tips that you can take to improve your macro photography, right now. The tips that follow will help you take your macro photography to the next level, and they won’t bog you down with technical details, either.

1. Move in close (and keep going closer)

You might be tempted to shoot subjects such as flowers the way that you would a headshot – putting space around the subject, so that flowers are fully recognizable as, well, flowers. However, I urge you not to take a step back, but rather to take a step closer. If you can, think not in terms of “flower” and “background,” but in terms of shapes and lines.

If you have a dedicated macro lens, use it. Experiment with high magnifications and see how that opens up whole new worlds for you to shoot. Look for abstract compositions that make use of shapes and color.  Fill the frame completely with your subject.

I used my macro lens to emphasize the lines and colors of this dahlia.

2. Consider the light

Lighting is incredibly important in macro photography. However, you can boil things down to a few simple rules of thumb:

• Photograph in the morning.
• Photograph in the evening.
• Only photograph at any other time of day if it’s cloudy.

Photograph in the morning and evening

When I say “morning,” I’m talking about very early, during what photographers often call the “golden hours“. Essentially, these are the first two hours after sunrise.

The same goes for the evening. If it is sunny, I suggest you wait until two hours before sunset. One hour before is even better.

I took this image in the evening, which ensured some great golden light.

These morning and evening hours are the times when soft, golden light falls on your subject. Not only does this result in a more evenly lit subject and an easier exposure, but the golden cast simply looks beautiful.

If conditions seem a bit too bright, you can also create really interesting images by using the shade. For instance, try working with a subject that is in the shade, while the background is lit by the (hopefully setting) sun.

I photographed this flower as the sun was setting, positioning myself so that the background was well lit, but the flower itself remained shaded.

Photograph in cloudy midday light

Midday sunlight tends to be incredibly harsh and results in photographs that are very washed out and contrasty.

Hence: if you’re shooting in the middle of the day, make sure that it’s cloudy. The clouds will serve to diffuse the light, allowing for wonderfully saturated colors.

I photographed this coneflower on a cloudy day, ensuring that the colors were nicely saturated.

If you find yourself in a situation where you absolutely must take images and you cannot wait until conditions become better, then you can try to offset the harshness of the sun by shooting in the shade, using a reflector, or by using a flash.

The artificial lights plus this flower made for a fun photography session.

3. Consider the angle

One of the mistakes that I made most when I was first starting macro photography was not thinking about my angle to the subject. For instance, I would point my camera down at a 45-degree angle, so that I would capture subjects as if I were a few feet in front of me as I walked.

While intuitive, this approach often results in a less appealing image. It causes elements of the subject to become messy, to cross over one another. It also tends to distort the shape of the subject, so that the overall impact is lessened.

Instead, I recommend two main approaches:

First: place the subject at eye level. For instance, if you are photographing a tulip, crouch down so that the tulip is directly before you. If you are photographing an insect, you should be staring directly into its face.

By photographing this flower at eye level, I was able to create an even composition.

Second: place the subject directly below you. That is, you should be looking straight down so that the petals of an open flower are parallel to the camera sensor.

By composing from directly above this hibiscus, I was able to emphasize its geometry.

Of course, these are just starting points. Pleasing images can be made from many angles, and a lot depends on the subject itself. But these are good places from which to begin.

4. Think about the subject quality

This tip is very simple – before taking an image, look your subject over. Is it at its peak? Or is it on its way out, wilting, or dying?

If the latter is the case, then try to search for a better-looking flower. Unfortunately, such elements can really detract from an otherwise excellent image.

I found this rose in excellent condition.

Also, look for things like bugs, dirt, and torn petals. These are all indicators that you should search for a better subject.

Though it’s worth noting that sometimes wilting flowers can make for very interesting images. Just be sure that, if you are photographing a subject that’s on its way out, you compose with that in mind.

I focused on this wilting daisy in order to create a more somber photograph.

5. Consider the background

One final tip for really enhancing your macro photographs is to think about the background before taking that shot. This is probably the most important of all these tips because careful attention to background can make for incredibly special images.

What should you consider?

First and foremost, look for backgrounds that are simple and uncluttered. A background that doesn’t distract is often enough to ensure a great image. However, it can also pay to be creative, by shifting your position so that colorful elements, such other flowers, or a sunset, sit behind the subject.

You might also use bright spots to your advantage, working so that they frame your subject.

The colorful flowers behind this subject made for an interesting background.

In Conclusion

By moving in close, considering the light, angle, subject quality, and the background, you can quickly improve your macro photography. Hopefully, you’ll have a lot of fun doing it as well.

If you have any other tips for people just starting with macro photography, please share them in the comments below.

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[Photography] Software Overview of the New ON1 Photo RAW 2018.1

The world of photo editing is changing and as more people are picking up cameras to take photos, it also means those same people are looking to process them. ON1 is one of the leaders in that change. They have been developing their software for a few years and pride themselves on having the only editing program that has been designed by photographers for photographers – ON1 Photo RAW 2018.1

A sunrise processed with ON1 Photo RAW 2018.

You may know ON1 as a plugin for Adobe Photoshop and Lightroom. While it is still available as such, it also comes as a stand-alone product. You can purchase the program and use it on your computer without a subscription to Adobe to use the plugins. This makes it far more accessible to most people. You can also buy it outright, so there are no monthly payments and you have options to upgrade as it is updated over time. It is only available as a perpetual license.

ON1 Photo RAW 2018 is available for both Windows and Macs.

ON1 Community

There is a community around ON1 and if you love being a part of one then you are going to feel at home. They encourage you to tell them what you like about the software and what you don’t like. They like to listen to the ideas submitted and if they are feasible will implement them in future updates. The community can submit their feature requests through the ON1 Photo RAW Project.

There are tons of free training videos available to help you learn how to use ON1 Photo RAW 2018.1. The videos are not too long and are made so they are easy to follow.

A macro flower image, processed with ON1 Photo Raw 2018.

Opening up

When you open up ON1 Photo RAW you will go straight to the Browse mode. This is where you will find your photos.

Layout

When ON1 opens you are automatically taken to the Browse Mode. From here you will find the folders and files for your images on the left. In the center are the images. On the right is all the metadata information about your images. You will also see on the far right all the different modules in which you can work.

If you want to see the image on its own, just click the tab key.

By clicking the tab key all the windows around the image disappear so you can get a clearer view.

Browse

The Browse module is where you can view your photos and all your folders. There are four different ways of viewing your images.

1. The first, which seems to be the default, is a set of thumbnails of which you can adjust the size.
2. You can view just one image on its own without the distraction of the others.
3. There is the filmstrip method, with your photo blown up and the thumbnails below.
4. The last method is like the previous one, but you can click on more than one image using Ctrl/Cmd which allows you to compare them side by side.

While you can see all the images that are on your computer, you can also import photos from your camera, phone, or wherever they are currently stored. The Import function allows you to rename your photos, decide where they will go, and you can also opt to change the metadata at the same time.

The Browse section where you can view all your photos.

Develop

Once you have decided which image you want to work on you are ready for the Develop module.

Here you can make all your basic adjustments like exposure, highlights, and shadows. You can adjust the white balance and look at adding sharpening or noise reduction. There are quite a few options in this section.

If you go to the top of where the adjustments are located you will see a button called Show More. From there, you will see more adjustments that you can use. They appear as more panes underneath the default ones that are available when you go to Develop.

Above the Show More button are two tabs. The first is Overall settings, and the other is Local Adjustments.

The first one, Overall Settings, will make any changes to your entire image. On the other hand, Local Adjustments is there to make changes to only small sections of your image. The tools you can use to do this are on the left-side panel. There are two, an Adjustment Brush and a Gradient. With these, you can work on only parts of the image where you want the desired effect.

Working on your image in the Develop module.

Local adjustment tools

With the brush tool, you can make changes to the size of the brush, amount of feathering, opacity and other things from the menu along the top of the window.

You will also see another option there, the Perfect Brush, which allows you to make selections or correction to parts based on the color on which the cross-hairs of the brush is placed. If you keep the brush over the color or tones you want to adjust, then nothing else outside those tones will be affected. It is a great tool to use when you want to remove or replace a sky.

There are other tools in the Local Adjustments tab as well. You can crop your images here if need be. The crop tool also allows you to straighten any wonky horizons.

Retouching tools are also on that panel. These will allow you to remove sensor dust spots, which is very important. You can clone, heal and use the content-aware Perfect Eraser with them as well. There are a lot of choices.

Adding a split tone to the image in the Develop area.

Effects

In the Effects module, you have even more adjustments, though they are referred to as filters here (some of the most popular include Dynamic Contrast, Textures, Borders, Lens Blur, Skin Retouching, etc.). You can add as many as you like and then stack them on top of each over. The effect will be applied to the whole image, however, you can add a mask so it will be more local to the areas of your image that you want to affect.

You will notice in the panel on the left that there are more tools available, including two that are very important.

There is another brush tool, along with a gradient and they both have masks attached. As soon as you start working on the image with one of them a mask is created automatically. This is valuable because it means you can fix what you are trying to do if you make a mistake. Masks are a great way to work non-destructively.

Looking at the filters and presets you can add in the Effects module.

Layers

When you get to the Layers module, you can start using the workspace which is designed to be easy and help take your photos further. It is here that you can start editing your photos. It also gives you more choices so if you want you can add layers, or start compositing. You can also do specific edits to particular layers.

One thing that is amazing in this section is replacing skies. Using the masking brush you can switch it to the Perfect Brush so you select just the sky, then reveal the image underneath. To help with the edges of the subjects you can switch to the masking refine tool, or the chisel masking one. They work really well together to help you get clearer edges.

Working in Layers doing a sky replacement.

If you look at the menu on the left near the tool panels you will see a section called Files. From here you can add extra images if you want. It is a great place to choose a new sky or find textures to add to your image. It even comes with a collection of skies you can use on your photos.

Once you make that selection you can also blend the images or layers. There are many different blending modes. You can try them all out to see which ones will work for your image.

You do have to be prepared to take layers back into Effects or Develop to make adjustments or add filters to them to get the desired results that you are after.

Looking at the different options for replacing the sky and applying it.

Resize

As the name states, it is where you can resize your images, though ON1 has packed it with far more. You can crop, level, sharpen, add film grain, add gallery wrap wings for canvases, plus many more things. It is a great place to finish off your images ready for printing.

There are also a lot of resizing presets that you can use to help you get the printed results and size that you are looking for.

Resizing an image ready for posting on the web.

Presets

In Develop and Effects, you will find a series of presets you can use to enhance your image. Unlike other programs you have options with them and can adjust them to suit the purpose of your image. You can also add a mask so that it is only applied to part of the image.

If you do your own enhancements and think you will want to use the same settings again then you can also save them as a preset. You can use the filters in Effects to get the image you want, then make a preset that can then be applied to your other images. This is really good if you like all your images to have a similar look and feel.

Adding presets and layers in Effects.

ON1 Photo for Mobile

There is also an app available for your phone, so you can process your images there. The advantage of this app is that you can send your photos straight to social media. Most of us do not like images straight from the camera and like to be able to edit them in some way.

The downside to this app is that it is only available for iPhones, so if you have an Android, you can’t use it. Unfortunately, I have a Samsung (Android) phone, so, therefore, have no idea how the app works. Though I am sure it is good if it is anything like the Desktop program.

Some of the improvements that have been made

With every new version that is released, there are always new features or some of the old ones are improved. Let’s look at what you will find with the latest release of Photo Raw 2018.1.

HDR

Doing High Dynamic Range (HDR) images in ON1 is incredibly easy and the results are fantastic. Aligning the images, along with deghosting have all been improved to help you get the best image. You are now able to mark which frame you want to use to help with the deghosting process, as well as decide how much movement you get with motion instead of the program doing it for you.

An HDR image that was done with ON1 and then processed further.

Catalog

If you’ve used an older version of ON1 Photo RAW, when you go to Browse mode, you should notice how much faster it is to look through your images in this new updated version. You don’t have to wait for eons while your photos all load. As soon as the folder is open you can view the images. They have improved the catalog searching tool as well so it also loads faster.

Noise Reduction and Sharpening

You can now sharpen your images to enhance the details on a micro level that will give you better results.

With so much people doing long exposure photography, one of the major problems is hot pixels. ON1 Photo RAW 2018 now will remove them automatically, along with the ability to remove high levels of noise from your images which all make your workload easier.

Chromatic Aberrations are caused by your lens and there isn’t a lot you can do to prevent them. But ON1 has worked on improving how to get rid of them, which is now much easier in this updated version of the software.

Panoramic Images

Many people like to do panoramas and you will find that ON1 has improved this feature so it will stitch your vertical images together far better. You can stitch together over 25 images at once. You also don’t need to worry about different exposures as it will compensate for them.

A composite of two images where the sky was replaced.

New Features

With the latest release, some features were also added.

Import

If you choose to use the import function you can decide where those images will go on your computer. As they are importing you can also assign metadata that you think is important, like copyright information.

Soft Proofing

The ability to soft proof has been added so you can simulate what your image will look like when it is printed. It should stop the surprises that you get sometimes when an image comes back from your printer.

Batch Renaming

While a lot of people don’t worry about this, it is a great feature if you have to send a bunch of photos somewhere. The ability to select the images and then rename them all at once is a fantastic feature that has been added to ON1 Photo RAW 2018.

Edit Capture Date

This was added so if you want to change the date and time that a photo was taken you can do so. This is a good feature if you’re like me and are too lazy (or you forget) to change the time and date on your camera when you are traveling. You can now fix it with ON1 Photo RAW.

Auto Advance

When you are going through your photos picking your faves, once you have culled one image the program will automatically move to the next image. This makes moving through them much faster.

The final image of the cloudy sky.

More information

When you purchase ON1 Photo RAW 2018.1 it also comes with a 30-day money back guarantee if you aren’t happy with it, no questions asked. Though if you want to try it out first you can use the full program for a free 30-day trial. It doesn’t stamp a watermark on your images making them ineligible to use, so it’s fully functional.

Converting an image to black and white.

Overall

ON1 Photo RAW 2018.1 is a good alternative for you if you wish to edit your photos, but don’t want to be locked into a subscription.

It is also suitable if you want to learn about image processing as the community that surrounds ON1 is welcoming. There is a lot of help available if you are just learning. In some ways, it is perfect for beginners, but also for others who want to get the best possible images they can.

Disclaimer: ON1 is a paid partner of dPS.

The post Software Overview of the New ON1 Photo RAW 2018.1 appeared first on Digital Photography School.

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[Photography] Using Scanography to Create Images of Plants

Since its inception, photographers have found weird and wonderful ways to create photographic images in amazing styles and mediums. The first photograph, or more specifically, the earliest known surviving photograph made in a camera, was taken by Joseph Nicéphore Niépce in 1826 or 1827. He used a polished sheet of pewter coated with a thin layer of bitumen, a naturally occurring petroleum tar, which was dissolved in lavender oil, applied to the surface of the pewter and allowed to dry before use.

As cameras developed, the popularity of photography increased and the possibilities of the medium grew, opening new artistic avenues.

We’re a creative bunch, so it’s only natural that as technology progressed into the contemporary climate, advances in office technology such as the printer presented a whole new realm of artistic possibilities. Printers not only allowed for new aesthetics but provided the opportunity for more economical distribution too.

It’s the same with scanners. Modern scanners are considered the successors of early telephotography and fax input devices. The first modern scanner developed for a computer was a drum scanner built in 1957 at the US National Bureau of Standards. Led by a team headed by Russell A. Kirsch, the first image ever scanned on this machine was a 5cm square photograph of Kirsch’s then-three-month-old son, Walden.

Companies such as Acer, Microtek and HP began offering flat-bed scanners in the late 1980s, although hi-res (600 DPI or more), color versions didn’t become popular until the mid-1990s. Once the technology moved into mainstream use, people began experimenting with the flatbed scanner’s artistic potential. What they discovered was a new form of digital photography, called scanography.

Making your own scanography

The process of scanography is as simple as arranging objects on the scanner and capturing the resulting image. But a few extra steps can help refine the process for more successful images.

What you’ll need

• Computer
• Flatbed scanner
• Objects to scan (flat, mailable objects like plants make great subjects)
• Glass cleaner and cloth
• Square of glass approximately A4 in size

For this image, I have combined two scanned images together and included the duct-tape frame that was on the piece of glass I used to compress the branches flush against the scanner bed.

Before you start

Because the scanning surface is made of glass, you’ll have to take care that the bed doesn’t get scratched or cracked. If you are particularly concerned about marking your scanner, try using a layer of glad-wrap as an extra barrier between your objects and the glass. Keep in mind that a scanner bed can only hold so much weight and exceeding this weight will break the scanner.

Method

First, open your flatbed scanner and give it a good wipe-down with glass cleaner and a cloth. This will reduce the amount of dust that will show up in your scanned image. Next, arrange your objects face-down directly on the scanner glass. For a nice, sharp image, I place a layer of glass over the top of my objects so they are flush with the scanner bed.

The depth of field of most scanners is very limited, usually no more than half an inch (12 mm), but the built-in light source provides excellent sharpness, color saturation, and unique shadow effects on objects pressed close to the bed. This is why flat objects like plants produce the most successful scanographic results.

Using a pane of glass will help keep your subject flush with the scanning bed, emphasizing detail. I’ve included the duct-tape border of the glass to create a more dynamic image.

The next step depends on whether you would like a black or white background for your image. For a white background, simply close the scanner lid and activate the scanner. For a black background, leave the lid of the scanner open and activate the scanner in a dark room. Once your scanner has finished processing, observe the results on the computer screen and make any necessary adjustments until you are happy with the finished result.

Post-processing

Once you are happy with your scanned image, open it up in Photoshop for a better look. Photoshop will allow you to remove any pesky dust marks or scratches that appear on your image. Personally, I don’t mind a few imperfections in the capture, as it embraces the quirks of the medium.

Experiment!

Once you have the technique down, the possibilities are endless. Why not try “branching out” and scanning some other objects?

Here are several scanned images of my pet rat that I’ve combined in Photoshop. I think it makes an interesting (and cute) study of movement, detail, and the scanner technology itself.

This creepy wavy effect was done by slightly moving my hands from side-to-side as the scanner arm passed over my fingers.

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