[Photography] How to Size Images for Online Sharing

Whether you’re running a photography business, or sharing your photography on the web with friends, it’s important to know how to properly size your images for various uses. Generally speaking the smallest size you can share, while still retaining enough quality for the viewer to appreciate the photograph, is what you’ll want to aim for, but let’s dive into this with a bit more detail.

First rule – use the sRGB Color Space for anything going on the web

Before you even think about sizing an image for the web, you’re going to need to make sure that you’re using the correct color space. The web is standardized on the sRGB color space, which means that if you want your photography to appear accurately across the web, that’s the color space you need to use when you save your image.

Take a look at this side by side comparison of the same photograph, saved directly from Lightroom, using the sRGB color space versus the AdobeRGB color space.

sRGB

AdobeRGB

You’ll notice that the AdobeRGB color space appears slightly more muted in terms of color and it has a slightly more greenish tint when compared to the sRGB image.

Second rule – Smaller size over image quality

Even in this world of high resolution monitors, it’s still the best practice to use smaller sizes when sharing images on the web.

Here at dPS, images in the articles are sized to be 750 pixels on their longest side at an overall size of around 200kb. The reason you want to reduce the size of your images for use on the web is primarily to improve the user experience for your readers. The more data a webpage has to load, the longer it will take for the reader to be able to see content.

Social media and dedicated portfolio sites, like Smugmug or Zenfolio, are the exception to this rule as they have optimized their backends to handle large image files when necessary, and actually require the full size image for printing purposes.

How to size your images?

Knowing why to size your images is only the first piece to the puzzle, now it’s time to learn how to size your images. This article will show you two ways to size images, one with Lightroom and another with Photoshop, as they are the two most commonly used pieces of software among dPS readers.

How to size an image in Lightroom

The best thing to do with Lightroom is to set up an export preset specific for your needs. Once this preset is set up, all you’ll have to do is select it, and everything will be done for you.

Step 1: Select any photograph and right click. Navigate to Export and select Export from the fly out menu.

Step 2: In the box that opens, after selecting your Export Location and File Naming options, you’ll want to navigate to the File Settings and Image Sizing sections.

In the File Settings Section: Make sure that Image Format is set to JPEG, and that Color Space is sRGB. You can choose to limit the file to a specific siz,e if this matters to you, but know that too much size reduction can result in noticeable quality loss of an image.

In the Image Sizing Section: You’ll want to check “Resize to Fit” and make sure that the drop down is set to Long Edge. Check the box “Don’t Enlarge” which will mean that any time you export an image smaller than your “Long Edge” setting, it won’t stretch the to fit that dimension. Finally, you’ll need to pick what size you want your image to be – here it’s set to 750px and 72 pixels per inch which is what we use at dPS.

To save this as a preset that you can use over and over again, click on the “Add” button in the lower left corner, and name your preset when the dialogue box opens.

Now, whenever you want to export a photograph to the web, all you have to do is right click on the image you wish to export, and navigate to the preset you’ve just created. Super easy!

How to size images with Photoshop

When you want to save your images for the web with Photoshop, the best option is to use Photoshop’s “Save for Web” tool. This will let you choose from various file types (in most cases you’ll want JPEG), and also allow you to convert the image to the all important sRGB color space.

To find the Save for Web option you’ll want to navigate to File > Export > Save for Web

Once you select this option a new window will open, providing you with a number of options for exporting your image from Photoshop. Here you’ll want to make sure that “Convert to sRGB” is checked, and that your file format is set to JPEG. Sizing can be done by picking a width or height, and as long as the two are connected with the link symbol, Photoshop will calculate the other’s value based on the one you input and maintain the image proportions accurately.

The most important part about saving photographs for use on the web is getting the color space correct, and realizing that people browsing photographs on the web are often doing so on smaller screens, with limited time on their hands. Fast load times not only improve your user’s experience, but they also will reflect favorably on Google’s search engine’s algorithm which is used to determine if your content is worthy of being shown to people searching Google for answers.

How do you size your images for online use? Please share in the comments below.

The post How to Size Images for Online Sharing by John Davenport appeared first on Digital Photography School.

it's from Digital Photography School http://ift.tt/1KnZc2l
via John Davenport

[Photography] How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images

Are you tired of blurry images?

It’s time to learn how to capture sharper images by finding your lens’ sweet spot. This will give you more confidence, save time, and help you take better photos.

In this article you’ll learn:

• How to find your lens’ sweet spot (for sharper images)
• Why you should shoot in Aperture Priority mode (and how to use it)
• How to perform a test to get your sharpest image every time
• How important is your lens’ sweet spot? Notice the difference

In the above images of the clock, the one on the right is sharper. Look closely at the words and at the leaves behind the clock. The f/9 image is sharper throughout because it was shot in my lens’ sweet spot. The f/3.5 one was not.

First, take a look at your lens

In this beginner’s guide, we’ll use an entry level zoom lens as our example. Most kit lenses (the basic lens that comes with a DSLR) generally shoot their sharpest at the mid-range aperture settings. To determine the mid-range of your lens, you’ll need to know its widest (or maximum) aperture setting. It is located on the side, or end, of the lens and will look something like this 1:3.5-5.6.

For example, here it is on my Canon 18-55mm zoom lens.

This means that when my lens is zoomed all the way out, its widest aperture is f/3.5. When zoomed all the way in, its widest aperture is f/5.6.

The rule to finding that mid-range sweet spot, is to count up two full f-stops (aperture settings are called f-stops) from the widest aperture. On my lens, the widest aperture is f/3.5. Two full stops from there would bring me to a sweet spot of around f/7.

Use this chart to count your f-stops

By Robin Parmar

There is some wiggle room in the mid-range, so anything from f/7 to f/10 will capture a sharp image. Once you know the mid-range of your lens, you can do an easy test to get your sharpest image. To perform the test you’ll need to shoot in Aperture Priority mode.

Take control with Aperture Priority Mode

Shooting in Aperture Priority allows you to choose the aperture setting you want, which gives you more creative control than Automatic mode. By controlling the aperture setting, it’s much easier to get a sharp image, and because your camera still chooses the ISO (if you are set to Auto ISO) and shutter speed automatically, it’s very easy to use.

You’ve probably heard that apertures like f/16 and f/22 are best for keeping everything in focus. While that can be true, focus does not always equal overall sharpness. Choosing a mid-range aperture will give you sharper images throughout. You can improve them even further by reducing camera shake with a tripod and a remote shutter release (or your camera’s self-timer).

Here’s an example of how shooting in your lens’ sweet spot will give you sharper images.

In the above split-image, the f/9 image is sharper than the f/22 one. The needles and shadows are not as soft or blurry as in the f/22 shot (look at the crispness and sparkles in the snow too).

Switching from Automatic to Aperture Priority Mode

To take your camera out of Automatic and put it in Aperture Priority, just turn the large Mode Dial to Aperture Priority. This is what that looks like on my Canon (on Nikon and other brans look for the A).

Automatic mode is the green rectangle; Aperture Priority mode is the Av (or A on a Nikon). Once your camera is in Aperture Priority mode, turn the smaller Main Dial (shown here on the top of my Canon) to choose your f-stop.

As you turn that dial, you’ll see the f-number changing on your screen. In the next picture, it’s set to f/9.5.

Perform a Lens Sweet Spot Test

Once you have your camera set up on a tripod, performing a sweet spot test only takes a couple of minutes. To begin, put your camera in Aperture Priority mode, then compose your shot and take a photo at varying apertures. Start out with the widest, then click that main dial a couple of times (to the right) and take another. Keep doing that until you’ve taken seven or eight photos.

Upload your photos to your computer and zoom in on them. You’ll quickly see which aperture settings gave you the sharpest overall image.

This next photo of my daughter was shot using natural light. Shooting in my lens’ sweet spot gave me a pretty sharp image, even in this low light setting.

The close up of the mugs shows the advantage of shooting in the lens’ sweet spot. Whenever you want to make sure you get the sharpest capture possible, take a shot at each mid-range setting f/7, f/8, f/9, and f/10.

Getting Your Sharpest Images

Now that you know your lens’ sweet spot, it’s time to practice. I hope you’re as pleased with the results as I’ve been!

I love shooting in natural light, and learning how to capture sharper images in low light has made me so much happier with my photos.

Tips for capturing your sharpest images:

• Shoot in Aperture Priority mode
• Choose a mid-range aperture (usually f/7 to f/10)
• Use a tripod and a remote shutter release (or your camera’s self-timer) to reduce camera shake
• Take a series of shots at f/7 through f/10 when a sharp capture is especially important

But don’t stop here. Keep playing with settings in Aperture priority mode. It’s awesome to get images that are sharp throughout, but there’s a lot more to aperture than that.

Learn more about aperture and depth of field here.

Do you have any lens sweet spot tips to share? Please do so by commenting below.

The post How To Find Your Lens’ Sweet Spot: A Beginner’s Guide to Sharper Images by Dena Haines appeared first on Digital Photography School.

it's from Digital Photography School http://ift.tt/20DTQnv
via Dena Haines

[Photography] How to Create Dynamic Images with an LED as Your Only Light Source

With a limited budget it’s easy to feel limited by your gear (or lack of gear I should say) but with time, and experimentation, you can discover ways to use the gear you have now, to make compelling images. In this tutorial you will be given a few pointers on how you can use just one LED light to make beautiful and dynamic images.

Equipment

For this tutorial you will need:

• An LED light. The light used here is a Neewer CN-126 LED Video Light which was bought on Amazon for under $35.
• A DLSR – Canon, Sony, or any other brand is suitable. I used a Canon 5D Mark II.
• A tripod or stable surface.

Direct light

Let’s start with the easiest setup: Placing your LED light directly on top of your camera, or on a light stand directly in front of your subject, may seem fairly basic. On its own, it can create a standard, flatly, lit image, which may not seem very exciting to your viewer. However, placing an item that has an interesting pattern or shape directly between your light and your subject can give a unique and creative result.

You can, for example, place a lace tablecloth between your LED light and your model/subject. Playing around with the fabric’s distance from the light, causes the pattern’s shadow to change size, and sometimes even shape. Adjust the distance and placement of your fabric (or other item) until you find a combination that works for you.

For the image above, I used my 50mm lens with an ISO of 2000, and my exposure set manually with shutter speed at 1/50th and aperture at f/1.4. My LED light was adjusted to medium brightness.

You can also use movement to add interest to your image as shown below. A slow shutter speed along with quick movements can make your images a real conversation piece. Try experimenting with moving your body, or an object like a colourful scarf or umbrella in your image.

Side light

Taking your LED off-camera, and placing it at an angle to your subject is another easy way to create a beautiful image with this simple setup. Keep your LED light setting between low and medium, and angle it at roughly 45 degrees from your subject, can give a nice soft light cascade across your image.

If you try placing your LED light directly to the right, or left, of your subject, you will get a pretty cool effect as well. This placement creates an interesting shape in the natural shadow your subject makes. In the image below, the LED is propped up at eye level, on a bookshelf to my left. The angle of the light, coupled with a delicate pose, created an image that was both compelling, and visually interesting. Camera settings for this image were ISO 1600, f/3.2 and 1/160th of a second with a 50mm lens.

Playing around with overlays and textures in Photoshop can further enhance your photo.

Backlight and overhead light

For small objects you can do a simple backlight setup, using your LED light. If you place a sheet of white letter sized printing paper directly over your LED light, and place your subject directly on top of it, the result is pretty interesting. When using this method try to choose a subject that you think would have an interesting silhouette. You can also try items that are slightly translucent and may possibly glow when back lit. Try capturing your final image by shooting from an overhead angle, but don’t be afraid to experiment with other camera positions as well.

Interesting images can also be created by putting your LED light directly above your subject. In the first image below, the light was angled slightly above the rose. This created a nice, softly angled, light effect that gave the rose a different dimension.

Coupling the overhead LED placement with interesting poses gives really striking results. Posing your subject with their face turned upward, in the direction of the light, for example, creates some really nice shadows along the contours of the face. Some creative editing in Photoshop resulted in these final images.

With this simple tool and a little imagination, you can create dynamic, visually appealing images for your portfolio. The key here is to experiment, play and have fun.

Let me know other creative ways you have used an LED light to add interest to your photography in the comments below.

The post How to Create Dynamic Images with an LED as Your Only Light Source by Tricia Bent appeared first on Digital Photography School.

it's from Digital Photography School http://ift.tt/1QClTiC
via Tricia Bent

[Photography] How Auto White Balance Can Hinder Your Photography

You’ve likely heard that auto settings like auto exposure and autofocus aren’t fail-proof. They’re strong features, no doubt, and most photographers take advantage of them at least some, if not all, of the time. But the key to success with auto-anything is to make it work for you; that is, to understand its limitations, and know when it’s not going to give you the best results.

If you’ve been a photographer for very long, you’ve likely run into the situation in which a very bright scene, a snowy landscape, for example, caused your camera’s auto exposure to significantly underexpose the shot, giving you murky gray snow instead of brilliant white. Likewise, a shot that was naturally dark, like a portrait of a black dog, might have been recorded too light, also resulting in unwanted gray or brown.

In both of these cases, the auto exposure was tricked by the scene’s overall light or dark tone, and attempted to compensate for this problem by doing exactly what it’s designed to do: choose an exposure that will average out the tones in the scene. For many photographs, auto exposure does a fine job of selecting a correct exposure, for scenes when average is correct. The trouble is when a situation is not average. In those cases, it’s up to you, the photographer, to make the necessary adjustments.

The exact same thing happens with your camera’s Auto White Balance, only in this case, the issue is not with light intensity, but with color.

The Color of Light

Not all light is the same; different types of light have different colors built-in to them. Daylight is basically white, while light from a sunrise or sunset has a red, orange, or pink cast to it (caused by the light being bent through deeper layers of atmosphere). Shade is usually a bit blue, as is snow, as both of these situations are receiving reflected blue light from the sky. Standard incandescent (tungsten) lightbulbs give off a strong yellow cast, while fluorescent lights, long the bane of photographers, can be anywhere from blue, to purple, to green.

Your camera needs to know the color of the light so that it can accurately record the rest of the colors in the scene. With film, this White Balance” is built into the product (i.e., Daylight film and Tungsten film), but with digital cameras, we have the ability to change the White Balance on the fly. If you shoot a room illuminated only by tungsten light with your camera’s Daylight White Balance setting, the resulting photo will show incorrect colors that are skewed towards yellow (try it and see for yourself). You could also shoot an outdoor natural-light photo with the tungsten setting and get some simply awful blue images. But when these situations are shot with the correct White Balance selected, the colors in the photos should be spot-on accurate.

The Auto White Balance Blues

Your camera likely offers a handful of White Balance choices, settings like: Daylight, Cloudy, Shade, Flash, Tungsten, and Fluorescent. There is also, surprise, an Auto choice.

Many beginning photographers tend to set their White Balance selection to Auto and leave it there. This mistake can be the cause of quite a few photographic problems. Like your auto exposure, Auto White Balance is pretty good. Especially when dealing with artificial light sources, the results of Auto can be very satisfactory. The trouble arises when a color cast is desirable, or when shooting a subject that is mostly one color.

A great example is a classic sunrise or sunset scene. In this case, there can be quite a lot of red or orange light illuminating the scene. If you choose Auto White Balance for this shot, the camera will evaluate the scene and think, “Hey, something’s wrong! There’s a lot of red here! Better back off on the reds.” The problem is, you do NOT want your camera to correct for those colors. In this case, having a lot of red in the scene is correct according to the subject and your intention. Auto White Balance will probably deliver a sunset that has a much more bluish feel, not as dramatic, and not what the scene actually looked like.

Another way Auto White Balance can be fooled is with objects that are mostly one color. A good example is flower photography. Suppose you’re photographing a large pink flower that fills the frame almost entirely. Auto White Balance will look at this shot and think, “Whoa, too much pink! Gotta back off on that.” Auto White Balance has no way of knowing if subject is truly that color, or if it’s the lighting. The only thing it can do is try to deliver what it perceives to be an average color balance for the image. In this case, the flower in the photo won’t appear the correct, vibrant pink that it was.

Auto White Balance can even cause slight inaccuracies to everyday outdoor photos, often resulting in shots with just a bit too much purple than they should have (the result of Auto trying to over-compensate for green vegetation).

Use Presets!

So what’s the solution? Use those White Balance presets! Many photographers, including me, use the Daylight setting a great deal of the time, to help ensure accurate colors during all times of the day and in many weather conditions. The Shade and Flash presets can also be quite useful. If you’re shooting JPEG files, selecting the correct White Balance at the time of shooting is critical. But even if you shoot RAW files and have the (very useful) ability to adjust your White Balance in post-production, choosing the correct White Balance preset at the time of shooting can start your images off right, and save you plenty of time, and who doesn’t like that?

Do you have any other stories or examples where Auto White Balance did you wrong? Please share in the comment below.

The post How Auto White Balance Can Hinder Your Photography by Daniel Johnson appeared first on Digital Photography School.

it's from Digital Photography School http://ift.tt/1UCJkct
via Daniel Johnson