I recently picked up a copy of Glyn Dewis’ new book titled “ThePhotoshop Workbook”.I’ve been a fan of
Glyn’s ever since Scott Kelby “discovered” him and started bringing him over to
“Photoshop World”.In the first chapter he
shows an image he made of a couple giraffes out on the savannah.I said to myself “self, we have a couple
images of giraffes from the Bronx Zoo”, hmmm.I thought I might be able to do a reasonable takeoff on his image.From his description it seemed he had a
fairly easy time extracting the animal from its original location.In the one I did, I didn’t have too much trouble,
but apparently more trouble the Glyn.Not a big deal, but it proved a point.I did want to make my image different enough from Glyn’s so no one would
thing I just filched his image.To find
out what I did and the differences between the two are, hit the “Read More”. Read more!
Somebody must have known. I was flipping through some Youtube videos over the weekend (there's nothing but junk on regular television anymore) and came across a session on Luminosity Masks (LM) in Adobe Photoshop Lightroom (LR). I went back this morning to try to find the author/presenter. No luck. That's too bad, because I'd like to give him (it was a male voice) credit. (Whoever you are, either let me know or take this as having given you the credit you deserve.) [Update: Thanks to reader Steve who let me know the fellow's name was Wayne Fox. Here's the link.] A couple weeks ago I was playing around with Luminosity Masks in Adobe Photoshop (PS) and did a post on the subject. I figured, since you start out with the Channels Panel that LMs wouldn't be something you could play with in LR. Oops. Was I wrong. To find out about my first exploration of LMs in LR, hit the "Read More".
How would you like to have ultimate control of your dodging and (D&B) in Adobe Photoshop (PS)? I have to confess, lately I've been doing a lot of D&B using the Adjustment Brush in Adobe Photoshop Lightroom (LR). You can go either way, but last night I was asked about D&B in PS. I've written about the technique a few times before, but I guess it's time to revisit it. A buddy of mine has the "Photographer's Bundle" from Adobe. She pays her $9.99 (in the US) each month and doesn't use LR at all. She says she looked at it and thought it looked complex. Complex? Compared to PS it's simplicity itself. Another friend in the conversation said he now uses LR for 90 - 95% of his work. I agree, I probably use LR 100% of the time that I'm not doing composites or things that require Layers. The only reason to go to PS is to do things that absolutely can't be done (or are easier to do in PS) in LR. To find out how to use Curves Adjustment Layers in PS to do your D&B, hit the "Read More". Read more!
I've shown today's image to a couple friends and the reaction has been "nice composite". The problem is --- it's not a composite. It's the way it was actually taken. There was a guy walking up along the crest of the rocks. The clouds were moving by at a pretty fast clip and the rocks at Pemiquid Light are that fantastic. You can find any shade of gray you'd like and the shades repeat and repeat. The out building are painted the color red that you'd pick if you were creating a set for photography. You can plant your tripod at any degree of a complete circle and get a good shot. If you're travelling on Route 1 up the Maine coast you need to make Pemiquid one of your "must see" (must photograph) stops. Stay at the Pemiquid Hotel and eat at Shaw's Wharf. You'll have your dinner, sunset/night shoot, night's rest and sunrise shoot all laid out in front of you. We've done it a couple times and it's a photographer's dream. The hotel is a hundred yards from the gate of the lighthouse grounds and the lighthouse is a hundred yards past that. To get to the site of today's image is another hundred yards past that. You can definitely walk it, but if you have a truck full of gear like I do, you might want to bring the car down to the parking area and save yourself some huffing and puffing if you've left anything in the car. If you're a frequent reader you probably know I can't leave well enough alone. To see what was done to today's image, hit the "Read More".
Today's image comes from the Wild Gardens of Acadia National Park in Maine. We were walking in the Sieur de Monts Springarea along one of the boardwalks when we came upon this scene. Since it was literary "off the beaten path" we thought it must have been the result of some of the wild life of the region tramping through. You know wildlife, they don't read the signs. Anyway, it was obvious that something big had been in the area. The laid over grasses gave a clear path to the eye. But, not so much in the camera. My normal work flow just wasn't bringing out the detail I knew was there. I've recently been reading about a technique I haven't used before, so I gave it a try. To find out a little about "Luminosity Masks" (LM), hit the "Read More".
I'd guess I'd want to start this post with a little explanation of who O.Winston Link is. He's a photographer and a chronicler. Most of his train work was done between 1955 and the end of the great steam train era in 1960. He lived just over the border from here in New York state. The "focus" of his attention was the last large scale railroad to use steam, the Norfolk and Western in Virginia. If you've followed the link above you saw that many of his B&W images were night shots of trains on the move. Some of his shots involved fifty or more large flash bulbs to illuminate the trains as they sped by. In today's image I used a somewhat simpler technique that can be revealed by hitting the "Read More".
Today's image is just a little goof on the fact that the Academy Awards were last night. Just in case some readers are too young to figure out what it's supposed to represent, it looks sort of like film did back in the day. You'd have to thread some plastic (celluloid) through the camera on sprockets. (Little wheels with teeth on them to engage the holes you see.) Another limitations the young folks might not realize is that you had to change out the film after either twenty four or thirty six shots. You couldn't shoot all day and then dump everything anywhere. There was no preview screen and you didn't know if you got the shot until the slides or negatives were "developed" using chemicals. My, how things have changed. To get an idea of the steps used to make today's image, hit the "Read More". Read more!
If you're looking through the blog and you see a shot that catches your fancy, it's probably for sale as a limited addition, signed and numbered print.
All prints are large format, starting at 16 x 20 and going up. Leave a note with your email address and we can discuss which prints are available, which are sold out and those that will never be available.
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