Today’s image was created by Jeremy Hall. Jeremy is a friend of mine that I met through Photowalking Utah. I saw this image on Jeremy’s Flickr photostream and asked him to write about how he created it.

By Jeremy Hall

I have some great friends and co-workers that step in as my models when I have ideas for new shoots. Good people. Kattie is a beautiful girl working in our customer service department that has very photogenic eyes and an appreciation for taking good photos. I have had in my mind some ideas for taking a series of photos of just eyes or tightly composed face shots, and she was willing to be my first victim.

After taking a series of shots, angles and lighting adjustments I went to work in Lightroom seeing what I had to work with. Lately I have been spending a lot of time trying to learn new development techniques in Photoshop, so when I take photos I tend to view them as a canvas ready to be brought to life. This is not to say I don’t try to get a perfect image out of the camera without processing, but the processing has been my interest of late. There is so much to learn and evolve in photography that I love!

One thing I especially enjoy about photography is the willingness of most other photogs to share their knowledge. Sure, there are some “secret sauce” business things that tend to stay protected; but when it comes to creating beautiful art, most are willing to help along those of us earlier in the learning process. With that in mind, I am always happy to share what I know to help others learn like I am.

Here are some notes of what I did with this image:

1. Shot normally with single soft box and model facing light at slight angle

2. Slightly underexposed in Lightroom to maintain shadow detail.

3. Photoshop channel mix layer for high key b&w conversion with selective mask to avoid eyes. For the b&w I just play with the sliders until I achieve the look I am going for that best enhances the photo.

4. Same eye selection (control/cmd click the previous adjustment layer thumbnail to reselect) for saturation and curves

5. Several dodge & burn layers for enhanced high key and knocking out aspect of background and face I didn’t want.

That’s really it. I did a crop based on how I wanted to display the image and some additional selective sharpening once the image was downsized. My preferred technique for a final sharpening is to create a duplicate of the background layer, apply the sharpening that best fits the important areas of the image, then apply a layer mask to hide all of the sharpening and then paint back on with a soft brush where I want the sharpening applied.

For comparison I have created this before and after image.

Thanks for the invite on the guest post, and I always appreciate visitors and comments over on my site at www.whatsgottastay.com and on my Flickr stream!

One of the most enjoyable times for me to photograph is when I am doing a stock shoot on location. I like the challenge provided by setting up a realistic looking scene in a new place. An important item to remember when setting up a scene is not only to focus on the main subject, but plan the background as well.

In today’s shot of Holly at the health club, I placed Tyler in the background doing curls with a dumbbell to better communicate the theme. Combining this model placement and a shallow depth-of-field not only adds depth to the image but increases the ‘realism’ of the shot.

Another example of this technique is demonstrated in last month’s laboratory photo shoot. By placing models Ron and Julie working on the bench behind Michelle, the scene becomes more interesting.

One drawback to adding background people is a bit of complication to the lighting. In the health club shoot I set a low-power monolight aimed specifically at the background model(s). I set the exposure for this light at approximately half f/stop below the subject exposure. I wanted them to pop, but not overpower the main subject.

This technique can be utilized in recreational photography as well. By paying attention to the background and either adding or removing people, the impact of a shot can be greatly increased.

View these images in my stock portfolio: Health Club – Laboratory

One effect that I use occasionally on portraits is Muted Color. This treatment can help to give an antique feel to the image similar to sepia-tone while still retaining color.

The young couple in today’s image wanted an old-fashioned look to their engagement photos. Their initial thought was to go with black & white or sepia-tone. However, upon seeing the muted color version it immediately became their favorite.

There are several methods available to create this look. The method I use is simple and straightforward. I process the original RAW image in three ways: color, sepia-tone and cross-processed (I use Linge’s Photoshop Actions for the sepia and cross-processed effect). I then create a Photoshop layer of each version of the file. Once I have the three layers, I use the color layer as my base and blend the other two layers over it, adjusting the transparency until I get my desired result.

If you have a process you use to create a similar effect, please share it.

Canon 5D, Canon 70-200 f/4L lens – 1/200 second, f/4, ISO 100

Today’s simple scenery image of a lone pine tree against a blue sky is a perfect chance to revisit a previous post from last year concerning the Rule of Thirds. Have a great weekend!

Canon 5D, Canon 24-105 f/4L lens – 1/200 second, f/8, ISO 100

from April 1, 2007:

One of the first things to get emphasized to novice photographers by those who claim to be more knowledgeable is to “Follow the rule of thirds”. While this is sound advice, the phrase can be confusing. Let’s take a few moments and simplify this “Rule” so that we all can use it when making captures regardless of our experience.

Simply put, the Rule of Thirds is a tool to use when composing a photograph. The way I like to instruct it is this: Place four evenly spaced imaginary lines on your image, 2 horizontal and 2 vertical. I have even further simplified it to some (mainly children) by suggesting that they imagine a “tic-tac-toe” board over the photo. Once you can picture the lines, place your subject very near a line and, if possible, arrange the main focal point of the subject where two of the lines intersect. In doing so, you increase the odds that you will create a photo that is visually appealing to how the human mind interprets the image.

For today’s image (above) I took one of my favorite hawk photos and added yellow lines to help illustrate the process. When composing the photo I placed the bird on the right most vertical line. The main focal point of the bird is the eyes and beak, but I found that if I placed them on an intersection the photo was a bit bottom heavy. Instead, I placed the bird’s body where the two nearest lines meet. Doing so creates a pleasing composition since the birds head is close enough to an intersection to take advantage of the rule. Had I taken the same photo and composed it differently by placing the bird in the center of the image, the result would not be as pleasing.

Since I’m on the subject of image composition, the image above demonstrates another “Rule” that can be followed to make a shot more pleasing. In most situations it is desired to have the subject looking toward the center of the image. If the bird were looking to the right rather than the left, the photo would not be as pleasing to the viewer’s eye. In fact, to many people it would just “feel uncomfortable”. The same can be said for motion. If the photo is of a subject in motion, compose it so it is moving toward the image’s center.

Lastly, remember the old phrase “Rules are made to be broken”. There are plenty of times when a more pleasing image can be created by breaking the Rule of Thirds rather than following it. Try using this rule as a guideline and see if your work improves.

When editing my images in Photoshop, I always begin with a couple simple adjustment steps before venturing into the more advanced edits. Since I shoot most of my shots around 1/3 f/stop underexposed (to preserve highlights), the first simple editing step I do is an adjustment to the brightness/contrast of the image. But guess what? I don’t use the brightness/contrast adjustment to do this. I use LEVELS.

By using the LEVELS adjustment, I am able to fine tune the brightness of the image while causing very little damage. This is extremely important in my stock images since they have to go through a rigorous inspection process to be included in my portfolio. Here are the simple steps I use:

1. Create a new LEVELS adjust layer.

2. Slide the upper clipping adjustment (red circle below) down until it is just above the upper end of the histogram.

3. Slide the lower clipping adjustment (blue circle below) up until it is just below the lower end of the histogram.

4. Inspect image and fine tune the adjustments as needed

As you can see in today’s featured image, the sample on the right ‘pops’ quite a bit more than the original on the left. This was done strictly using the levels adjustment. Once I complete this step, I then go on and finish my editing of the image.

If you haven’t tried adjusting brightness/contrast this way, give it a shot and see how well it works for you.

Canon 5D, Canon 24-105 f/4L lens – 1/160 second, f/4.5, ISO 50

I frequently receive email questions from photographers that have upgraded to a digital SLR camera. One of the most often asked questions is about additional lenses they should add to their kit. The lens I recommend more than any other is the 50mm f/1.8. This lens can be had for under $100 (Canon) and is a great addition to any photographer’s gear bag. The inexpensive little lens offers numerous advantages including:

- One to two f/stops faster than a standard ‘kit’ lens
- Very narrow depth-of-field for a great blurred background
- Extremely compact and lightweight

The Canon version of the lens feels very cheap light due to its plastic build. Don’t let this deter you. The optics are very good, especially considering the low price.

Today’s image of Kenneth during a video presentation at one of his classes was taken with this lens. The combination of the fast lens speed and a high ISO made the shot possible.

Here are links to the lens for Canon & Nikon:

Canon 50mm f/1.8
Nikon 50mm f/1.8

Of course, if price is no object you can do what my scientist friend did (you know who you are) and cough up some real cash for a Canon 50mm f/1.2 :)

Canon 5D, Canon 50mm f/1.8 lens – 1/20 second, f/1.8, ISO 800

(Rock Star models Andrew and Alyssa)

I spent this past Saturday afternoon doing a stock photo shoot in a private jet. Through a friend, I made contact with a pilot last month and he was able to get me access to one of the corporate jets he flies. I must say, it was pretty cool.

I got word on the Thursday prior that we would have use of the jet on Saturday, so I had to scramble to assemble the models and props for the shoot. Normally I like to schedule shoots a few weeks in advance, but due to the irregular schedule of the plane’s use this was not possible.

When planning the shoot, the three scenes I sought to capture were corporate executives, young rock stars and wealthy jet-setters. Doing the multiple scenes required several different models. Ultimately, six were available (on the short notice) for the shoot.

(The lighting setup on the outside of the Cessna Citation)

The lighting for the scene was pretty straightforward. I wanted to create a look that made it appear that the plane was flying. To do so, very bright windows were the key. I placed large softboxes on both sides of the plane to light the windows, then used a small softbox above and behind my camera position for fill light. All of the lights were synced with Pocketwizard radios.

The final result of this lighting setup worked well. The images portray a natural looking directional light similar to what you would see in an airplane at altitude.

(Corporate executive model Ron)

The biggest hurdle in doing the shoot was the cold weather and wind. The hangar that we used as a staging area was un-heated. Thankfully, Kevin from the airport provided a space heater to keep the models warm between shots. The plane itself was also not heated (it was powered down) and the door had to stay open for the light’s power cables.

(Yours truly on the job)

All in all, it was a successful and fun shoot which will yield a few dozen images for my stock portfolio. Big time thanks go out to all of the models (Michelle, Dale, Ron, Andrew, Jenna & Alyssa) and especially to my new pilot friend Matt. Thank you all! Without people like you I could not do what I do.

Pro photographer and instructor Kenneth Linge had another of his Photographing People clinics this past Saturday in Salt Lake City. I was privileged enough to be invited again to help out and photograph during the class. Kenneth is a master at using mid-day sunshine with a reflector to create stunning portraits.

I took the above photo of Lindsey in direct overhead sunshine in the parking lot of the hotel the seminar was held at. The lighting was provided by a single silver reflector positioned by Kenneth. The combination of the warm light on the face with the cool background bokeh created a pleasant portrait.

Here is an overview of the scene as captured by my favorite videographer Jeremy Hall.

It is always rewarding to be able to capture a nice portrait such as this in an environment that many photographers would consider inhospitable to portrait work.

On a somewhat related side note, I processed this image in under 5 minutes using Kenneth’s Photoshop Actions. I will be providing more information on these actions in the near future.

On the web:

Kenneth Linge
Jeremy Hall

Canon 5D, Canon 70-200 f/4L lens – 1/800 second, f/4, ISO 100

It was great to see the response to the Calling Photoshoppers project we featured this week (original post). I received a few suggestions that I give a shot at editing the image, so I spent a few minutes with it this morning. Here is my version.

I didn’t keep a detailed list of my editing steps (like the others did so well), but I will touch on a few highlights.

- Cropped and leveled
- Removed rock (thanks Brian)
- Blended two versions of the images, one sepia and one color
- Warmed up and softened using an action
- Brightened faces
- Vignette

My goal was to create a sepia image with a subtle color on the couple (especially the jeans and her top). Similar to others, I sought to create an old-fashioned feel to the image.

So, how’d I do?

Canon 5D, Canon 70-200 f/4L lens – 1/250 second, f/5, ISO 100

Last week I put out a call for Photoshop users who would like to put their skills to work on one of my images (original post). I received a very nice response and selected the first five to participate.

I have since received the four edited images (one person was unable to complete the assignment). In addition to doing a great job applying their Photoshop chops to the image, they each wrote a narrative on what they did and why they did it. It is very interesting for me to see the different style and approach each artist took.

Each person was provided with an unedited JPG and RAW image (shown above) of the couple walking on abandoned railroad tracks. The only guideline given was that they could do whatever they wanted. Here are their results in no particular order.

ANN TORRENCE

Technically

In short – two Adobe Camera Raw interpretations of the same image,
over and under exposed. The diffusion is simulated by copying the
over-exposed image, blurring it, and using the Screen mode.

The under-exposed ACR conversion is blended with Multipy at a partial
opacity to bring back the dark zones. A Curves Adjustment Layer
introduces the Cross Processing look; search on-line for many cross
processing curve examples to download. One more thought: edit in 16-
bit mode when making dramatic shifts and expect a spiky histogram.
Down-sampling to 8-bit will smooth much of the spikiness out.
Cropped to 8×10, light sharpening for Rich to resize and sharpen for
printing.

Artistically

I imagined this couple would like one image from their engagement
session styled for fashion. I wanted to give them an image that they
will like now, their kids will laugh at on their 25th wedding
anniversary, and treasure on their 50th.

I liked the pose, motion and expressions, and how the color of her
shirt pops out of the image. But their beautiful skin and hair tones
get lost in the muddy colors of the tree leaves. And the unfocused
weeds at the bottom of the image have to go (Rich was smart to keep
the camera plane parallel to the couple, and allow some room in the
composition for cropping.)

Cross-processing refers to an old-school color film technque of
processing slide film as if it were color negative or vice versa. It
gives a characteristic color shift and contrast transformation to the
film, and has been used a lot in fashion photography. Another tool
fashion photographers might use is a diffusion filter. Since Rich
didn’t use one on his lens, I faked one. I wanted to use both ideas;
retaining a full range of brightness called upon a bit of Photoshop.

BRIAN AUER

Technically

I processed the RAW file using Adobe Camera Raw 4.3.1. I left the white balance as shot, and I started with the “Auto” adjustment for the exposure settings. I tweaked a few minor things, then I got started in Photoshop CS3. Once in Photoshop, I applied a curves adjustment layer to increase contrast. Then I converted to black and white using the Channel Mixer adjustment layer at 34% red, 66% green, and 0% blue. I set the blending mode of this adjustment layer to “Overlay” and dropped the opacity to 80%. Then I desaturated the image using a Hue/Saturation adjustment layer by dropping the Saturation slider to -35. The final adjustment step was a Photo Filter adjustment layer using an LBA Warming Filter at a density of 35%. Then I cropped the image (see why in the next section). And finally, the rock in the foreground was a little off for me, so I cloned it out. No sharpening was applied.

Artistically

I felt the scene had a lot of potential and I knew I wanted the image to have a kind of timeless and carefree look and feel to it. The adjustment layers got the overall mood where I wanted it, but the composition was off for me. I loved the slight tilt in the image, but the upper half of the scene wasn’t working for me – the background was too dark on the left and too light on the right. It added too much tension and took away from the “carefree” feeling I wanted. So I played around with different crops and I finally landed on a 3:2 aspect that cut off just below the cuff of the white shirt on the left arm. To me, this was the most interesting part of the image (no offense to the models… or Rich for that matter). The photo was suddenly more timeless and relatable. It wasn’t about the two specific people in the photo — it was about the carefree feeling of walking down the old tracks on a sunny summer afternoon, hand-in-hand with the person you love.

RICHARD MILES

Technically

My first step was to eliminate some of the empty space around the couple, so I cropped the image to bring the couple forward. I then tilted the image to take away the linear power that the original had, and also in hopes adding a more visual element to the picture. Overall, I felt the image had too much space around it, and was too much on the straight and upright!

Artistically

I bumped the contrast a little! I also played with different levels of contrast and decided that since the couple are wearing jeans containing pattern and texture , to bring out that element and use that as a unifier that this is a “couple”!

I then added a soften glow to the shot, and then layered a sepia toned layer on top. I took a black paint brush at around 2% opacity and painted over the whole image to achieve that black/sepia combo and add a little warmth and hopes of a romantic flair.

TIM MILLER

ARTISTICALLY

I looked at the photo and it seemed to be a pretty candid shot snapped mid action, but when I thought about it from the perspective of the couple, there was obviously going to be some memories associated with the event. It was obviously a staged candid shot. The railway tracks and the way they were dressed and walking holding hands suggested that a photographer had set this shot up for them – maybe as a anniversary special photo occasion or something. So while wild fantasies of photo shopping an old fashioned steam train in behind them to make them look as if they were in danger crossed my mind (in fact I even found some suitable photos) I didn’t attempt this. Instead I reasoned that the couple would be interested in framing this photo on their wall as a memory of this event or time in their lives. So I created two different looks and borders that would lend themselves to printing on canvas or photo paper and framing with a nice frame.

TECHNICALLY

Shot 1 – the sepia image. First I tightened the shot by cropping substantially. I then copied this onto a larger white canvas to create a large margin. I then changed the image to black and white using a gradient adjustment layer and then added a colour adjustment layer of sepia. I then created a slightly larger selection in the background and filled this with black to give the old time real photo look of the black edges and sepia tone. I then added the text at the bottom. This would look good in an old wooden frame – probably 2-3 inches in width in an old fashioned style.

Shot 2 – the soft edges. Once again I tightened the shot by cropping the extraneous material. I then create a border inside the edge and feathered this by 170 pixels. I then selected the inverse and deleted to create the soft edges. This would look good on a matt photo paper and framed in a thin metal frame, gold or maybe silver.

____________

And there you have it. I would again like to personally thank each participant for taking the time and energy to be involved in this little project. Based on the response, we will be doing this again in the future.