[Photography] Four Lightroom Tips to Enhance Your Landscape Photos

The post Four Lightroom Tips to Enhance Your Landscape Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Lightroom has a vast array of buttons, sliders, and selection boxes that can improve just about any photo, but sometimes the options are so overwhelming you don’t even know where to start! It’s impossible to say what specific adjustments will work for any given photo, partly because there are infinite possibilities and every photographer is unique. However, there are a few Lightroom tips you can use with certain types of images, such as landscapes, that improve them with just a few clicks. If you have ever wanted to punch up your landscapes quickly and easily, there are four options that you can use right away to make any landscape look amazing.

If you import a landscape picture into Lightroom but find yourself staring dazed and confused at the array of editing options, try focusing on the four items below. I use these on most of my landscapes, and you might be surprised at how well they work for you too.

Of course, you can always continue tweaking and adjusting with as many options as you want, but these are great to start with.

• Basic tone
• Texture
• Sharpening
• Graduated Filter

Learning to use these four adjustments goes a long way towards improving not just your landscapes, but many other types of pictures too.

As you gain more editing experience, you will start to figure out what your editing preferences are and learn to adjust the options accordingly. Maybe you like a little more tonal contrast or a little less saturation? Perhaps you prefer your images to have a little less sharpness? Experimenting with these options helps you understand what you prefer. It helps you develop your skills as an editor to get the results you like.

Basic tone

There’s a reason that the Develop module in Lightroom has a panel called Basic. This contains the most popular adjustments that most photographers use right away. They are especially useful for landscapes too. The following are what I recommend as a starting point for these types of images.

Highlights: Drag this slider to the left to make the brightest portions of your landscape a little darker.

Shadows: Drag this slider to the right to make the darkest portions of your landscape a little brighter.

Whites: Drag this slider to the right to make the white portions whiter

Blacks: Drag this to the left to make the black portions blacker.

To show you how much of an effect these simple adjustments can have on a landscape, here’s an image without any adjustments straight from my camera.

Shot at the National Tallgrass Prairie Reserve in Kansas. An unedited picture straight from the camera.

The picture is dull, lifeless, and not all that interesting. 15 seconds of adjusting those four sliders in the Basic panel does wonders and transforms it into a whole new picture.

Highlights -43, Shadows +26, Whites +70, Blacks -51. No other adjustments were made.

The resulting image is vibrant, lively, and exciting to look at, especially when compared to the original. It doesn’t take much work at all to use those four simple sliders when editing a landscape photo, and the results can be breathtaking.

Texture

The effect of the Texture tool isn’t quite as pronounced and may not take your breath away in the same way. However, Adobe’s latest addition to Lightroom can produce impressive results. While Texture is particularly useful when editing portraits, it can also bring out detail in grass and rocks, and other areas of a landscape image that has a great deal of natural texture.

Many landscape photographers are already familiar with the Clarity tool, which can have a similar effect as Texture. But, the former can often lead to images that appear over-processed and artificial. Texture is really designed to enhance the look and feel of textured surfaces. If you have not tried it, you may be surprised by the results.

I took the picture below in the mountains of the Pacific Northwest, and while I did some basic Highlight/Shadow/White/Black editing, I really want to bring out the details in the evergreen trees.

I shot this while hiking near Seattle, Washington.

Increasing the value of the Texture slider helps the trees to stand out. They come to life while leaving the clouds and sky virtually untouched. Adobe designed the Texture option to look specifically for textured surfaces. It applies the effect only where it’s really useful instead of across the entire image as a whole.

Same image, with a value of Texture +90.

When viewed at full resolution, the result is remarkable, but even on a small screen, you can see that the trees have become more pronounced. The background trees are clearer and more discernible as well.

This new option in Lightroom is not yet as popular and well-known as Clarity, but it’s a boon for landscape photographers who want to spice up their images without going overboard.

Sharpening

The Sharpening tool has been an integral part of Lightroom for years, but might be overlooked by new landscape photographers who feel overwhelmed with all the features in front of them when editing their images. In contrast to Clarity and Texture, the Sharpening tool helps you emphasize the edges of everything in your pictures while also giving you the power to specify precisely how you want to apply the sharpening.

As with the Texture tool, your results aren’t going to be as immediately impactful as other edits, such as the Basic panel. However, careful adjustments to Sharpening can add a level of resonance to your landscapes and bring to life the small details.

Shot at just outside a small town in north-central Kansas. Some basic edits applied, but no sharpening.

The Sharpening adjustment, which sits in the Detail panel, has four parameters: Amount, Radius, Detail, and Masking. While these are all important, the ones I recommend you focus on are Amount and Masking. Move the Amount slider to the right to make your picture appear sharper and add a sense of crispness. After that, use the Masking slider to tell Lightroom where to apply the actual sharpening.

You can hold down the Alt or Option key (on a Mac) to see how this works and adjust as necessary. The black-and-white preview updates in realtime. As you hold down the modifier key and drag the slider, it shows you just where the sharpening will be applied.

Adjusting the Masking parameter while holding down the Alt or Option key (on a Mac) shows a live preview of where the sharpening will be added.

Use of the Sharpening tool is a great way to enhance your landscapes, especially when combined with some of the other editing options.

Sharpening added with the following values: Amount 114, Radius 1.0, Detail 25, and Masking 85.

Graduated filter

If you have never used the Graduated Filter on your landscape photos, you’re in for a real treat.

This tool allows you to apply graduated adjustments to part of the image, and even edit the adjustments using selective masking and brushing. It’s a great way to bring out the rich blue of a sky, the subtle greens of grass and foliage, or implement other edits to part of your picture without affecting the whole thing.

To demonstrate how the Graduated Filter works, I have a picture shot in southeastern Nebraska without any edits except for removing some spots of dust on the lens. The foreground is dark, and I’d like to change the color of the sky to reflect what I actually saw. However, global edits like the Basic panel just don’t work.

Shot in rural Nebraska on a chilly February evening.

As a point of comparison, here’s the same picture with some simple adjustments, like in my very first example. The Basic adjustments help but don’t produce the results I’m after.

Highlights -18, Shadows +100, Whites +34, Blacks -7.

It’s an improvement but still a long way from what I want. Fortunately, the Graduated Filter is here to help! By applying this type of edit, I can alter the lower portion without affecting the upper portion. Also, the edit is applied gradually, so it appears more natural as the foreground recedes to the horizon.

No edits from the original except for a single graduated filter applied to the foreground. Temp 76, Exposure 2.16, Shadows 21, Blacks -13, Texture 50, Sharpness 20.

You can go one step further and add additional graduated filters, which is especially useful when working with landscapes. In this image, I’d like to bring out the rich deep colors in the sky without affecting the field in the foreground.

A graduated filter is the perfect tool for the job.

Second graduated filter applied to the sky. Temp -73, Exposure -.50, Highlights -45, Dehaze 10, Saturation 16.

I listed the Graduated Filter last because it’s the most complicated of these four adjustments you can apply to your landscape, but it’s also, in my opinion, the most powerful. There are lots of options for customizing your graduated filters, and it’s going to be worth your time to explore more. However, the example above should be enough to get you started.

There’s so much more you can do with landscape photos in Lightroom beyond what I demonstrated here. These basics should be enough to get you started and help you bring out a lot of the color, detail, and vibrancy that your landscape photos may be missing.

After learning these, I hope you start exploring the other options Lightroom has to offer.

I’d love to see examples of your landscape photos in the comments below!

 

The post Four Lightroom Tips to Enhance Your Landscape Photos appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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[Photography] The 5 Most Overused Photography Techniques [video]

The post The 5 Most Overused Photography Techniques [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video, James Popsys discusses what he believes are the 5 most overused photography techniques. Take a look and see if you agree with any or all of these.

1. Water photos using Long Exposures

James points out that photographers who always use long exposures whenever there is water around could be missing out on telling the true story of the scene. They could be missing out on the ripples, textures, etc. that are available in the true scene.

He also states how he likes to imagine himself within a scene, and finds that some of these long exposures all feel too unreal. He knows he could never experience that in real life.

What are your thoughts on that?

2. Panoramas

James loves panoramas and has done many of them himself. The problem he has with them is that he thinks some people who shoot them can’t decide on what their focus point should be so they just try and capture it all.

Do you agree with that?

He believes good photos are all about subtraction and taking things out of the shot to make the message stronger. So to shoot a good panorama, everything you are capturing needs to be of interest. Or else, you need to change perspective and your composition to get a better photo.

Also, they aren’t great for viewing on digital media.

3. Adding foreground interest

James states that always trying to have a point of interest in the foreground isn’t necessary and that sometimes it can dilute what is already an interesting photograph.

4. Golden hour

Jaymes isn’t a fan of shooting during Golden Hour as he believes the color overpowers the subject matter. The light becomes the story rather than the place. The light steals the show. Photos can also become quite similar because it becomes about light and not composition or story.

Shooting at other times of the day improves your composition skills.

5. Sky replacements

Jaymes isn’t a fan of sky replacements. They are becoming too obvious, and they look fake. He thinks it is outdated and disingenuous.

What do you think? Are there other techniques you think are overused in photography? Share with us in the comments below.

The post The 5 Most Overused Photography Techniques [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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[Photography] Weekly Photography Challenge – Texture

The post Weekly Photography Challenge – Texture appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is TEXTURE!

Image by Glenn Harper

Go out and capture absolutely anything that includes texture. You can photograph anything that has texture, or you can overlay textures in post-processing to create a whole new work of art. They can be color, black and white, moody or bright. Just so long as they include texture! You get the picture! Have fun, and I look forward to seeing what you come up with!

Image by Rick Ohnsman

Image by Megan Kennedy

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting TEXTURE

How to use Texture to Improve Your Photos

10 Tips for Shooting for Graphic Textures

Texture as a Design Element in Photography

Working with Textures – 8 Ideas to Get You Started

How to Create Your Own Textures

Applying textures in post-processing

How to Add a Texture Overlay to Your Images for a Stunning Effect

Beginners Guide to Creating and Applying Texture Overlays Using Photoshop

How to Apply a Texture Overlay to Your Images to Create an Antique Look

How to Use Textures to Create Compelling Photographs

Weekly Photography Challenge – TEXTURE

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.

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.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPStexture to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Texture appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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[Photography] Photographers, Are Robots Coming for Your Jobs?

The post Photographers, Are Robots Coming for Your Jobs? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Square has just announced a new service, which allows businesses to get product photos for cheap – just $10 USD for a set of three product photos.

The only caveat?

The product photos are all taken by a robot.

Yes, you read that correctly. Square, a company known for its credit-card transaction tools, built a $20,000 USD robot that takes simple product photos with a white background.

Here’s how it works:

You send your products to Brooklyn, where the robot lives. Staff arranges the products on a table surrounded by lights and a white background.

Then an arm moves around your products while holding a Nikon DSLR, snapping away with a single robotic finger.

Square staff then select the best three product photos. They do a bit of post-processing before sending them along to you, the owner.

If you’re a small business owner who doesn’t have product photography skills and can’t afford to spend on a photographer, this may be just what you need.

But if you’re a product photographer who relies on basic product setups for your income, this news doesn’t bode well. If the Square Photo Studio robot is successful, it’s likely that the idea will spread, fast, edging professional photographers out of the more basic product photography markets.

And news of a robot photographer isn’t only relevant to product photographers. It matters to shooters of all stripes.

Automated photography may start with product images, but where will it stop? Will robot photographers expand? What could be the next target for automation?

For instance, might we see robots enter studio portrait photography? How about automobile photography? Sports photography?

They may seem like silly questions, but they’re worth asking.

That’s why this story is so important. It gets at a question that many of us have ignored thus far:

Ten years from now, will most photography be done by humans? Or by robots?

What do you think about robot photographers? Do you think that a product photography robot will catch on? Let me know in the comments!

The post Photographers, Are Robots Coming for Your Jobs? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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[Photography] Make the Most of High Contrast Lighting for Dramatic Street Photos

The post Make the Most of High Contrast Lighting for Dramatic Street Photos appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Street photographers often love the type of light many others seek to avoid. High contrast lighting is favored by many because of the drama it adds to the action, or lack of it, in the streets.

Making the most of high contrast lighting is a matter of being able to see it more as your camera does. It also helps to have a good knowledge of how you can manipulate your photos during post-processing.

© Kevin Landwer-Johan

Seeing like your camera

Your eyes can see a wider range of tone than your camera can. This is changing as camera technology advances. Soon cameras will be able to record more details in the highlights and shadows over a broader range. For now, your eyes are more capable.

What you see on your camera’s monitor when you review a photo is different than what you’ll see on your computer. On your camera, you will not see so much depth or detail. Learning to discern what your photos will look like after some post-processing will help you take better photos.

© Kevin Landwer-Johan

Taking photos knowing how you will process them later helps you make better decisions while you’re taking photos. The choices you make about exposure and composition can depend on what treatment you will give a RAW image on your computer.

When you look at a high contrast scene, your eyes will see more detail than your camera is able to record. Because the difference between the light value of the highlights and shadows is so vast, your camera cannot record it all. But your eyes will still be able to see it.

Understanding this when you are in high contrast light will help you make better photos.

© Kevin Landwer-Johan

Expose with intent

Photographing in hard light means you must make careful exposure choices. Do you want to see details in the highlights? Do you want to see details in the shadow areas? You must choose if you want to make the most of the dramatic lighting.

Exposing for the highlights and letting the shadows fall into black is one of the most popular methods. This adds drama and mystery to your street photos.

I prefer to set my exposure manually. This way I know it will not alter until I change the settings myself. I will choose a light area to make a meter reading from. Then I will underexpose it a little to make the effect a little more dramatic.

This will make the shadow areas appear even darker. It also means I am less likely to have bright areas with no detail.

© Kevin Landwer-Johan

Setting my exposure in this way, I know I’ll be able to push the contrast effect even further during post-production.

If you set your camera to expose for the shadows, the highlight areas will be even brighter. You will lose detail in the lightest parts of your composition. Sometimes you will want this and to keep the details in the shadows. You must make a conscious choice when you are setting your exposure. If you get this wrong, you will find you cannot manipulate your photos so much during post-processing. This is more so if you are taking .jpegs rather than RAWs.

© Kevin Landwer-Johan

Make use of the shadows

You can hide things in the shadows. You can conceal people or unwanted distracting elements in the darkness of a shadow.

Careful use of shadows can isolate your main subject and draw the viewer’s eye to it.

Use graphic lines of shadows created by architecture, trees or other strong forms. The shadows themselves become graphic elements in your photographs. You can combine them with the solid forms in your composition to create tension or harmony.

© Kevin Landwer-Johan

Look for how static and moving shadows appear in your compositions. What do the shadows of people look like on the pavements or walls as they walk by? Are there shadows created by trucks, buses or cars passing by? Can you see light reflected off windows back into the shadows?

While you’re out with your camera, think about how the shadows might look when you add more contrast during post-processing.

© Kevin Landwer-Johan

Find a location and choose your time

Observe how the daylight looks at the places you like to photograph. It will be different at various times of the day and during different seasons.

Look at how the shadows fall on the ground and surrounding buildings. Are people walking in the sunshine or in the shade? At which points to they emerge from the shadows? Is the light in front of them or behind?

Pick a good place to work from and stay awhile. If you can visit the same location on many different occasions, you’ll build up a more diverse set of photographs. Doing this, you’ll be able to compare the photos you take. This can help you learn your favorite time to photograph at that place. Then plan to do it again and take even better photos.

Find a place where the light is how you like it and the background is interesting. Make sure the background will support the style of photograph you are wanting to take. Is the background in full sun or in the shadows? Is the light falling on it pleasing to you?

© Kevin Landwer-Johan

Move around and look at the space from different angles. Where you photograph from will look different depending on where the sun is. You might prefer the sun behind you or to one side. Some scenes may look better when your subjects are backlit. These should be carefully made and not left to chance.

If you are including people or traffic in your photos, be observant of how it is moving. Anticipate where it looks best. How does the light look on a person as they walk through your composition? Does the traffic moving in one direction look more interesting than traffic moving the other way?

Once you have decided on a place to work from, stay there. Being patient is one of the most important things to do as a photographer. Wait and watch. Look for patterns of movement and also when these patterns are interrupted or broken. These can be some of the most interesting times to take street photographs.

© Kevin Landwer-Johan

Conclusion

Look at the sunlight and think about how you can post-process to enhance the look you want.

With street photography, you are reliant on the available light. You must look at it and figure out the best place to stand. Then you must make the right choice of exposure settings to take advantage of the high contrast.

Once you have found a good location and made a few exposures hang around. Give yourself time and space to really work a scene. Try going back to the same location at different times of the day and in different seasons. You may be surprised at how different your photographs will look.

We’d love it if you would go out and try some of these techniques and share your photos with us in the comments below.

 

The post Make the Most of High Contrast Lighting for Dramatic Street Photos appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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[Photography] How to Backup Your Photos While Shooting Tethered so You Never Lose Them

The post How to Backup Your Photos While Shooting Tethered so You Never Lose Them appeared first on Digital Photography School. It was authored by Darina Kopcok.

Whether you’re working with clients or shoot as a lone ranger, you need to back up your work. As the saying goes, when it comes to hard drives, it’s not a matter of if they will fail, but when they will fail.

Working with image files requires a lot of power and is very taxing for your computer. This increases the chance of hard drive failure. You need to have a system of backing up your images that works for you. This is also important to backup your photos while shooting tethered.

Backup your photos while shooting tethered

There are various programs that allow you to connect your camera to a laptop or desktop computer via a USB cable. This allows you to view a larger and more accurate version of your image on the computer screen. Tethering is crucial in genres like food and still life photography, but also very useful in other niches, like studio portrait photography.

When shooting tethered while on location, an efficient workflow around the backup process will make your life a lot easier and ensure that you have several copies of your image files should an unforeseen incident occur.

If you’re like me and shoot tethered to a laptop but edit on a desktop, you already have the bonus of an extra copy of your images, since you’re using two computers.

If you transfer the images from the laptop to desktop via a detachable external hard drive, there is your third copy. However, if you use a card reader or transfer your images from your camera via a USB cable, you should have at least one more hard copy of your images. Also, what if something happens to your laptop while you’re on a shoot? Remember, it’s a question of when.

Do you use Lightroom as your tethering program of choice? You then have the option of saving your images to your SD cards as you take them. However, Capture One Pro doesn’t offer this option. This makes image capture instant, but it doesn’t give you an extra sense of security by providing additional copies of the images you’ve shot.

You cannot just set up Lightroom or COP to save to two places. You need file synchronization software to make sure that your work is being backed up while you’re shooting tethered. 

Types of backups

There are two types of backup: specific project backup and overall data backup. You need to concern yourself with both.

While you’re shooting, you need to back up every single file. You also need to do a backup of your whole computer. You should create backups on external hard drives and also in a cloud-based system. Don’t simply rely on cloud solutions for your backups.

Storing photos in the cloud basically outsources the storage of your photos. The data in the cloud is not necessarily safe or under your control. Risks with cloud storage are having your data hacked and deleted, being locked out of your account, or having it be closed if you make late payments. Also, these types of online services can suddenly shut down or otherwise cease to exist. 

A word about digital data

The problem with digital data is that storage formats change over time. You might keep your photos “safe,” but they’ll be useless to you if you can’t read or open them. 

Operating systems, software and file formats keep changing, so just because you can see a file on your computer doesn’t mean you can actually load it.

One example is the attempts to replace the standard .jpg file format with JPEG 2000, PNG (Portable Network Graphics) and several others. JPG is fine for now, but you can never say never because this sort of thing actually happens all the time as technology changes.

A word about disk drives

Hard drives are great for storing images because they are relatively inexpensive, they provide fast access to data, and it’s very easy to copy one hard drive to another. 

However, backup drives are not an all-in-one perfect solution. Your data is at risk of being stolen or destroyed by fire, flood or some other disaster.

Also, the data is vulnerable to malicious software and human error.

You can accidentally delete a folder, or make mistakes when copying files. If your PC is infected by malware, it will usually encrypt files on external hard drives as well.

I personally have had several hard drives fail. One time I had a hard drive and a laptop fail at the same time! Some hard drives fail after several years of use, while others fail after only a few months. There is no way of knowing when the case may be.

Therefore, you can’t store your photos on a single drive. A minimum of two is recommended. I have backups on a couple of 1TB external, portable hard drives, as well as on two 4TB hard drives that are plugged into my desktop computer. 

You should keep one of your backups off-site, like at a relative’s home or even in a bank safety deposit box. 

How to back up while shooting tethered

Chronosync is one backup software that I recommend you use while shooting tethered if you use a Mac. If you’re a PC user, check out Bvckup.

Goodsync can be used with either system.

This type of software allows you to look at a given folder and copy everything to another folder on a separate hard drive. For example, you might want to shoot images on your laptop and have them sync to an external portable hard drive. Or you may want to use two separate portable hard drives. Basically what you’re doing is telling it what folder to look at and make an exact duplicate of it to another drive.

You can set it on a schedule or have it running in the background. Setting it on a schedule is great if you always have a hard drive plugged into your laptop.

Here is an example of how to do it with Chronosync.

1. Open up the application and choose, Create a New Synchronizer Document

2. Decide what drives you want to synchronize by selecting >Choose from the Source Target and Destination Target menus accordingly. It will give you several choices of how you might want to back up from the dropdown menu under >Operation.
My recommendation is that you choose >Backup Synchronize Bidirectional. This will ensure that everything that is on one drive will also appear on the other.

3. Click on >Synchronize in the top left-hand corner. It may take a few minutes for the synchronization to take place. Once it’s complete you’ll see the message below.

It’s as simple as that. With synchronization software like Chronosync, you’ll ensure that all your files and folders are backed up for a very low price.

Other backup software

Many large companies offer photo storage services including Amazon, Google, Microsoft (OneDrive), and Apple (iCloud). However, this can be expensive if you need a lot of storage. With some, downloading large files is cumbersome and data such as file names and EXIF Data may not be preserved. Some services don’t preserve your photos as you uploaded them, and others just don’t work very well (Time Machine, I’m looking at you).

Here are some other paid-for options that are worth a look:

FoldersSynchronizer – a popular program for Mac OS which synchronizes backup files, folders, and disks.

Super Duper – great for disk backups on a Mac. It allows you to create a bootable clone of your disk which you can easily copy from one hard disk to another. This makes moving from one computer to another during an upgrade virtually painless.

Smug Mug – an all-in-one solution that allows photographers to display and sell their images, with unlimited uploads.

Backblaze – a cloud-based backup system that will continually back up your data while your computer is on. Use to restore data after a drive failure.

To sum up

To ensure that you have all your bases covered when backing up your files, you should backup specific shoots as well as regularly do backups of your whole computer(s).

Have a couple of backups on hard drives, as well as a cloud-based backup.

When shooting tethered, I recommend backing up your images manually as you’re shooting, one at a time, to ensure that each image exists in at least two places at that time. Once you’re finished shooting, back up your portable hard drive to another one, preferably a larger, more robust hard drive where you store a copy of all your image folders.

 

The post How to Backup Your Photos While Shooting Tethered so You Never Lose Them appeared first on Digital Photography School. It was authored by Darina Kopcok.

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