This is how we edited the steam train cab image of the Umgeni Steam Railway train from the before and after post.  The following screenshots show the process of editing in Camera Raw to finished photograph.

The image was taken on a very wide angle lens. We bought a Voigtlander 15mm manual lens for our Sony A7r and A7 before we left for a South African trip. Have to be honest here. I (Tim) am a wide angle lens freak. I can’t get enough of them. If I could only have one lens ever, it would be a prime super wide. Not only that, I really like manual focus.  Ally, on the other hand has a more rounded view of lenses and is happier with longer focal lengths but will still use wides.

The great thing about wide angles is the huge amount of depth of field they give so for the image below, I didn’t have to focus through the camera. I just set the lens to about 2m and everything from o.5 to infinity was in focus at f11.

I was standing outside the cab and just held my hand with camera inside and pressed the shutter.

Finished image with Raw editing

The Raw file editing

The whole image exactly as it came from the camera

The first thing to do was to crop the extra unwanted detail away in Raw for a better composition.

Post crop without any Raw editing

Post crop after global Raw editing

Once this was done I set about doing a global adjustment in Raw. Darker areas were lightened with the shadow slider and the lighter areas darkened with the highlights slider. Don’t over do it or it will look either too flat or like a bad HDR effect. All the editing in Camera Raw here can all also be done in Lightroom, Affinity Photo or any other raw file editor.

Doing the dodge and burn dance

Most of the work on this image was done with adjustment brushes. Every little white dot you see on the above screenshot is an adjustment brush. Most of the brushes affect the lightness / darkness as well as clarity (micro-contrast) and finally saturation and colour.

The image was finally taken into Photoshop for resizing and sharpening.

If you wish to learn Photoshop on the iPad or Affinity Photo on the iPad have a look at our Udemy courses below.

Click here for amazing money off deals to Learn Photoshop or Affinity Photo v2 on the ipad with his Udemy course

Remember – All the adjustments I have done are just a form of dodge and burn but affecting colour and contrast, not just dark and light. All the great photographers from Dorothea Lang to Ansel Adams used dodge and burn so you are not ‘cheating’.

Final image verses the original from camera Raw file. Drag the slider to see the difference between before (right) and after (left).

The post Editing in Camera Raw – How to appeared first on ImageExplorers.

Do you ever look at your images and wonder why they just don’t have the ‘pop’ that you see on other people’s shots. There are many reasons that this could be, but we have found that the main one is down to processing. We would like to show you some of our before and after photographs of the steam train we shot in South Africa. If you haven’t read the article yet, click here for these images and more.

But I don’t want to manipulate my photographs

We hear this all the time. “I don’t manipulate my images”, “I only show the ‘truth’”, “What I saw is what I show you” or even “My shots reflect reality”. Let us look at what it is to ‘manipulate’ or ‘process’ photographs.
A photograph is all about using light from a scene and translating it onto a flat surface. This could be a print or on a digital device. Just the act of taking a photograph means you put your own slant on the image. You decide what to include and what to exclude. You change your camera settings and some things are darker and some things are extremely bright as the camera doesn’t have the same range of sensitivity that the human eye has. These things are, of course, a form of image manipulation.

Using dodging and burning as well as all the other options in Raw are just ways of getting the image to look how you envisaged it. Even one of the great photographer masters, Ansel Adams used a lot of image manipulation.

So, all our images are manipulated in Adobe Photoshop, Affinity Photo or other software, so that they look like we envisaged them.

Everything is manipulated. Do as much or as little as you want but always create your own vision of the world.

The post Before and After Photographs appeared first on ImageExplorers.

I often get asked about free online Photoshop and my stock answer is that if you can’t afford or don’t want to pay Adobe the monthly rental then there are a few options.

My first option would be to use Affinity Photo that has a one off fee (around £40) or download Gimp to your computer (free). I very rarely recommend an online version for serious work but recently I had seen Photopea, (not made by Adobe) and was intrigued. Could this software actually work like Photoshop but be free and online? I decided to set myself a challenge. Could I do this whole post’s images in Photopea?

What is it?

Photopea is a simplified clone of Adobe Photoshop that works in your browser. You simply go to photopea.com and there it is. Choose File and open an image from your computer. When you’re done editing just save as a Photoshop compatible PSD file or export as a jpg, png etc. It saves these files to your download folder.

The Photopea (Online free Photoshop) interface

Let’s start with Raw

Not wanting to overload the browser I started with a 12mp file. I wanted to see Photopea’s Raw file ability so I had a dng file (digital negative file) ready to go. To say the Raw file settings were sparse would be an understatement.  5 sliders! Basic temperature, Tint, exposure, brightness and contrast. That is it! At least there is a histogram.

Not a great start; however it must be said that at least it did open the Raw dng file.

Basic Raw settings

Photopea interface

The interface you are presented with looks very similar. Mmm.. I can see the Adobe lawyers getting all hot under the collar. Anybody with any Photoshop abilities will feel right at home. The tools are similar, the layers look the same and even the masks and adjustment layers have the Adobe look.

Look… It’s online Photoshop! Except it’s not

Start with the adjustment menu to alter the contrast with a curve. Well it works but it’s very basic.

Curves in Photopea are minimal

Non-destructive editing

I wasn’t holding out much hope when I went to the adjustment layers. I thought I would try out a very simple brightness and contrast but it actually worked very well. I was surprised. I even had a mask to use to stop the adjustment affecting the sky. Things are looking up. I was getting into it now and just copied the adjustment layer like I would in Photoshop by dropping it on the new layer button. Yes! that worked too. Better and better.

Adding an adjustment layer

Couldn’t stop now. I had to add a gradient adjustment layer and mix it with the layer below to hide the white using the blend mode. See our tutorial on how to make the sky dark in a photo. If you’re not used to layers and masks, see our post on using these with our textures tutorial and the Vatican multi-image edit tutorial.

This is the colour final version

Why stop now!? So on to converting it to Black and White to finish off the whole thing.

Changing the image size has very basic options – Bilinear or nearest neighbour as interpolation option.

Still, it didn’t look too bad.

After using the crop tool I exported out as a jpg.

The finished image

See what we think makes a good black and white image.

Conclusions

So how was it? Well there are good and bad.

First the good.

• It’s free
• It works on a browser so both Mac and PC
• The software doesn’t take up room on your drive
• You can use it on an iPad. We got it to work on an iPad mini
• It strips the software down to the bare basics
• Even the brush size keyboard shortcuts using the [ and ] keys worked. (See our top 10 Photoshop shortcuts).
• You can save as PSD files and all the functionality is still there in Photoshop

Now the not so good

• The Raw settings are too stripped down
• It struggled a few times and things slowed right down. I made sure I had no other tabs on the browser open but it still occasionally froze
• The crop tool was a bit clunky. I struggled with it as it kept freezing.
• The brush was a bit difficult to control.
• The interpolation options are a bit sparse and as this is an online version I suspect it will be used for a lot of resizing.

So would I use it again?

If I was totally stuck without Photoshop or Affinity Photo then yes I would, but I’d always go for a non-online browser based option first.

Would I recommend it?

Only if you are going to do image manipulation a few times a year and really can’t afford Affinity or Photoshop or you need to do some quick manipulation on your tablet.

I do have high hopes for Photopea though (or any free online photoshop). It can only get better and faster and as a free web resource it is actually very good.

Give it a try. You have nothing to lose.

The post Free online Photoshop? appeared first on ImageExplorers.

“BUT MY CAMERA IMAGES ARE SHARP! Why should I sharpen my photographs?” This is a common question I hear all the time as an Adobe Photoshop trainer and lecturer. The other question that goes with this one is, “Why do ‘Pro’ images always look so much crisper than mine? I have the same camera?” I Know it seems very odd that when you have spent so much money on a camera and lens with awesome autofocus systems that you might still have to sharpen your photos. Fear not, for we will explain all! Firstly we’ll look at the why and then the how.

If you are reading this article on a phone you might need to zoom in to see the subtle details of sharpening on the images

Why your photographs need sharpening

Before sharpening

More skin, hair and violin texture after sharpening

Most (but not all) digital cameras have a filter in front of the sensor to deliberately, slightly blur the image recorded on the sensor. REALLY!!! This filter is called an anti-aliasing filter and it helps prevent moiré problems. This unsightly moiré effect can come about when photographing regular patterns for example on a subject’s clothing. The anti-aliasing (AA) filter helps to prevent this by slightly blurring the image.

If your camera is set to give you jpg images then the camera automatically adds some software sharpening to the image. If you are producing Raw files then it is up to you to add sharpening to the Raw file.

Which camera makes have this ant-aliasing filter?

Well most of the big brands have cameras with and without AA filters. Nikon, Fujifilm, Pentax, Canon and Sony tend to not have AA filters on the ‘Pro’ camera lines. Leica does not have AA filters on theirs. There are both good and bad things about not having AA filters though. No AA filter = sharper images but potentially moiré problems. AA filter = poss weird patterns on fabric

No AA filter – no sharpening then?

Err No. Sharpening images is still used on non AA filter images as it can really give your image a bit more ‘punch’.

So how does sharpening work?

With software

Software sharpening finds the sharp edges in your photograph and increases the contrast of the edges, This gives the image more defined edges and a look of being sharper.

With film

Photographic film can be processed in such a way as to increase the edge sharpness around objects. This is called the Mackie Line effect. One way to achieve this effect when processing Black and White film is to not agitate the film too often (maybe just once every 30 seconds). The developer gets depleted in the large areas but can work more in the other areas creating a sharper line between the exposed and less or unexposed areas. Find out more about choosing a film camera and loading film here.

How to sharpen in Photoshop

Every photographer has their own way of sharpening images. Some more convoluted than others. We’d like to show you just the 2 main ones.

Using the Unsharp mask

When your image is all resized and ready to print or go to web, open the filters menu in Adobe Photoshop. (We’re using Photoshop CC (Creative Cloud) version 2019.) So that this sharpening is not destructive we’re going to start by making the image into a Smart Object. Select Filters and choose Convert for Smart Filters.

Then go to the Filters menu again, choose Sharpen and then Unsharp Mask.

Unsharp mask amount set to 100

Settings in Unsharp mask amount set too high

The Unsharp radius set too high

Keep the threshold and the radius very low – maybe in the 0.5 – 2 and 1 – 3 area respectively and then adjust the amount to taste. Most people work in the range between 50% and 150%

The lower the threshold, the fewer areas it will mask out and it will apply the sharpening to everything. If you find details that you don’t want sharpened being affected then increase the threshold.

The radius is the area either side of the edge details that gets affected. Use a very small radius on low resolution images.

Paint on the mask of the unsharp mask smart filter to hide the effect

Using a High pass filter

Th High Pass filter method is another sharpening technique that many people prefer. In Photoshop, duplicate the image layer by dragging the layer onto the new layer button in the Layers panel. Select the top layer, convert it to a Smart Object to make the filter non-destructive, and then go to the Filter menu, choose Other and High Pass.

High Pass on layer, finds and adds contrast to edges

In the High Pass settings use a low setting eg. 1.2. You can always change this later if you like, by double clicking the High Pass filter on the layer.

Change the Layer Mode to Overlay and adjust the opacity and High Pass filter to taste. If there are areas you wish to not be sharpened just paint them out on the layer mask.

Overlay mode on layers panel to mix the high pass with the non sharpened bottom layer

Tip: The best way to see your sharpening is to view the image at 100% zoom. (In the View menu choose 100%)

Too much of a good thing?

A little too much sharpening has made an unsightly line around the castle 

Be aware that not all images need sharpening and it’s really easy to overdo the sharpening on your photographs. Try to only sharpen areas that need it and mask out the bits that look overdone. That said, if you have never used these techniques you will be pleasantly surprised at the amazing results you get. Go forth and create awesome crisp images when you sharpen your photos.

The post Why you should Sharpen your photos appeared first on ImageExplorers.

I, Tim, have 2 favourite photographers. I could sit and contemplate their work for hours on end. Both these photographers are landscape master craftsmen and artists of the highest order and their images bring me untold joy. One of these photographic genius’ is Michael Kenna who is still creating beautiful, thought-provoking images from around the world. The other is Ansel Adams, a legendary landscape photographer famous for his spectacular images of Yosemite National Park in The United States. As part of how ‘How to photograph like…’ series that includes Michael Kenna and Edward Weston I’d like to show you how to photograph like Ansel Adams or at last get your digital colour images to look like his beautiful prints.

Drag the slider left and right to see before and after

A purist photographer?

Ansel Adams photographed mostly using black and white film and large format cameras. His beautiful landscapes were enhanced using yellow or orange filters to darken the sky and despite being seen as a photographer who never manipulated his images he was never shy about dodging and burning to create the image he wanted.

The Zone System

Ansel’s one overriding concern was to create beautiful prints that had a full range of tones and to do so he worked out the zone system with Fred Archer. This system works by measuring the contrast of a scene and processing the film accordingly. A lot of ‘pre-visualsation’ is used to determine dark and light areas of the image. The ‘zones’ are 11 tones ranging from black 0 through to white 11.

Describing the zone system in 2 sentences is like explaining string theory using a colouring book and crayons – can’t be done, so for a full and proper explanation go to the Zone system wiki page.

Here is how I created my version of the legendary 1941 Ansel Adams image ‘Moonrise, Hernandez, New Mexico‘

Ansel Adams’ Moonrise, Hernandez, appears to be fairly contrasty as it’s probably a late afternoon, sunset image.

Open in Raw and convert to Black and White

This is my original image taken in the Drakensberg, South Africa, near Champagne Castle which was taken early morning. We were staying at a beautiful place called Spionkop and this was a couple of minutes walk from there. For more information on exposure for the moon look at our moon tutorial.

Original colour photograph for Ansel Adams conversion

The first thing is to get your landscape image open in Raw. If you have a Raw file you can just go ahead and open it, If you have a jpeg image you will need to open it from bridge by right clicking and choosing Open in camera Raw.

In Raw convert to Black & White.

Increase contrast

Push the Contrast, Whites and Clarity to the right. Experiment until you’re happy with the result.

Darken the sky

Using the Magic Wand make a selection of the sky.

Then using Select and Mask (along the top), ensure that the Contrast is pushed a little to separate.

Now, darken the sky – I used Levels and pulled the bottom slider from the right to the left.

And voila! You can photograph like Ansel Adams too.

Final Ansel Adams style photograph

Have a look at our other  ‘How to photograph like…’ series that includes Edward Weston and Michael Kenna to see how to create images like they have.

The post How to photograph like Ansel Adams appeared first on ImageExplorers.

“TOAST! Tim and Ally…. Really?” “Erm yes…It really does help with Dodge and Burn tools. We’ll get to that later but first things first.”

Dodge and burn tools have become a bit old hat to many photographers. With so many quick and easy digital ‘fixes’ it’s easy to see why, but these tools, although going back to traditional printing times, are some of the best ways to make your black and white images (and colour too) look amazing. We can safely say that there is not an image on our blog that doesn’t use at least one of these in some way or other. See our tips and geeky explanations for what makes a good black and white image.

Dodge and burn in traditional printing

In traditional printing, you have an enlarger which projects your negative onto paper. The more light you expose the paper to through the negative, the darker the print will be. After you’ve done a test strip, which helps you work out the required exposure, you would then expose the light from the enlarger onto your paper. Depending on the exposure, there can often be areas of the image that would be too dark or too light. You would then do another test strip over those areas to work out that exposure time. Dabbling or jumping into film photography – see our post on the best film for travel photography and filters for black and white photography.

Dodging

When it comes to the final exposure of the print, you would expose for the final image with adjustments, but for the area that was too dark and needed less time, you would use a piece of card, normally attached to a piece of wire to wave madly over that area to prevent light getting to it – well maybe not madly, but moving enough to prevent a hard edge being projected onto the paper. This lightening technique is called dodging.

Dodging the print with cardboard ellipses on sticks

The further away from the paper you manipulate the light, the softer the dodged or burnt area edges will be.

Burning

For the area that needs more light, you would expose the image with the normal exposure, then you would give the area the needs more light, the extra light that it needs. How do you do that? Well, depending on the size and shape of the area, you can use your hands cupped together to block out the light and only allow certain areas to get extra light, or you could also use a piece of card with a hole cut in it to give that area more light … directing (or burning) the light. Again you wave it gently between the enlarger and the paper (to prevent getting a hard edge).

Burning in areas by giving them extra exposure through the cardboard hole

Pro tip:

Now one of the advanced traditional techniques used by traditional film printers is to dodge or burn with a different contrast. This is done by using multi-grade paper and changing the grade filter on the enlarger lens before dodging or burning. This technique allows you to have a combination of high and low contrast so for example in your scene you might need more contrast in the sky to get awesome looking clouds but the foreground needs sensitive shadow and highlight detail so a lower contrast.

Dodge and burn in Photoshop or Affinity photo

Now digitally, the darkroom effect can be applied in Photoshop. In your toolbar, normally down the left-hand side, you should see what at first glance looks like a lollipop. This is in fact a version of the round piece of card on a piece of wire or stick, used in dodging. Click and hold that and you’ll see 2 other icons and the text. We’re not going to look at the Sponge tool but the Burn tool has a hand with a hole made with the fingers and the thumb. This is depicting one of the options you can use when burning in!

When you choose any of these you will see your options along the top menu change to something like this.

This means that you can control how much dodging / burning you will do to your image with the exposure, and what tones you will affect, such as Highlight, Midtones or Shadows.

Most of the time you will need midtones, but if the area you wish to adjust is in the highlights or shadows, you then choose the appropriate Range from here. Choose a brush size and click and drag around the area you wish to lighten / darken. Be careful not to overdo it and use a brush bigger than you think. Undo is your friend here!

So where on earth does toast come in?

Well a lot of people get confused with which one darkens and which lightens.

The easiest way to remember this is:

If you burn the toast it will go darker – hence Burn darkens – easy to remember now.

Dodge and Burn in Raw (adjustment brushes)

There are a number of reasons to dodge and burn using adjustment brushes in the Raw file converter but the 2 main ones ore these.

• This is a non-destructive technique so you can always come back and re -edit the image at a later stage.
• You can use the dodge and burn with contrast adjustments like the advanced traditional film technique mentioned above.

In Adobe Photoshop (CS6 or CC) Open your Raw image in the Raw file converter and navigate to the adjustment brushes. It’s along the top.

Paint the area you wish to dodge and burn and then adjust the settings on the right hand side. We usually use the clarity slider to add contrast when needed and the contrast slider to reduce contrast.

Do a new adjustment for each area you wish to work on. (Not sure about Photoshop or Affinity – see our post which gives the lowdown on them). See also our Top Photoshop shortcuts.

Putting it into practice

We photographed the tower on the City wall in Dubrovnik, Croatia, but the original looks so uninspiring that a bit of Dodging and Burning was required.

• The sky was quite tricky as while the whole area needed darkening, some parts needed less contrast and some more. We did this with 2 large burning in areas with adjustment brushes. Both darkened with the Exposure slider but one added contrast with the Clarity slider while the other reduced contrast with the Contrast slider. See our post about dramatic skies.
• The sea was burned in and had added clarity
• The tower was dodged to lighten it but with added clarity to show detail in the texture.

Original image

Areas we adjusted with the brush

Final result

Revolutionise your new images and give new life to old ones

Dodging and burning has been used by film photographers since photography was invented and it’s still one of the best ways to get what you want from an image. Give your new images that exquisitely beautiful look you have admired in the masters printers work or add new life to old photographs.

Mostly, enjoy what you do.

If you are in the London / Essex / Suffolk area, we run training at your office / premises in Photoshop. Want to buy Photoshop – click the Adobe image at the bottom of this page from this link.

The post How toast can help you to create awesome B&W images with Dodge and Burn tools appeared first on ImageExplorers.

Learn from the Masters

Some days we look at well-known photographers images and something in us just cries out “I wish I could create images like that”! At first I thought it was just me but I have discovered that the majority of photographers feel like this about certain other photographers some time. If you have ever seen the beautiful black and white zen-like work of Michael Kenna then you will probably know this feeling really well. If you don’t know Michael Kenna’s work, have a look at his web site. Once you have finished weeping with inadequacy come back and let us look at how to photograph like Michael Kenna so you too can create similar style images.

Have a look at our other  ‘How to photograph like…’ series that includes Edward Weston and Ansel Adams to see how to create images like they have.

Now before we get started there are a few things to know.

• Michael Kenna creates images on a medium format Hasselblad.
• He uses film
• He has a very zen-like nature about him
• He is a photographic genius
• He is a darkroom super-craftsman

So now the bar has been set so spectacularly high, let’s see what we can do with our DSLR or Mirrorless digital cameras – no pressure then!

I photographed these cranes at the Bristol harbour, UK in a Kenna style with simple shape and no shadow detail

Analysing the Master

When trying to imitate anybody’s style we start by analysing their techniques, so when looking at Michael Kenna’s photography, this is what I saw.

Composition:

Michael Kenna looks for simplicity in his composition, moving closer or framing the subjects to get rid of extraneous objects. He uses a lot of symmetry and rule of thirds but is not afraid to break rules if the composition calls for it. As he photographs on a Hasselblad which has a square format, a vast number of his images are square.

• Pro tip – Michael will often put the horizon on almost the centre of the image. He uses a technique called the optical centre. This is about 10% above the centre of an image and is where the eye naturally rests.

The images have a timeless quality about them, which suggests a photographer who is in no rush, and analyses every scene and possible angle before creating the image.

Black and White film:

In an interview with Procameraman.jp Michael talked about his favourite film as Kodak Tri-X 400 ISO. This is a very forgiving / flexible film and well suited to the long exposures he does. Some are as long as 10 hours. It also has a very distinctive and pronounced grain structure.  See our post on what black and white film to choose to find out more.

ND to blur clouds or water and other filters to darken skies:

In order to create the long exposures, to get the milky water during daytime we need to assume that Michael uses an Neutral Density filter and the camera on a tripod. See our how to photograph with ND filters tutorial.

We can also assume he uses a red and or polarizing filter to darken and lighten parts of the image. We have written extensively about using filters in black and white photography in other posts.

Quite a lot of contrast and high key:

Michael Kenna’s images appear to have large tracts of almost black and almost white in them. The middle tones are there but are in the minority. A lot of his images are also high-key, meaning most of the image is really light although almost every image has something nearly black in it. As a master craftsman Kenna is probably using a combination of film development chemistry and darkroom techniques to augment the original stark image. For more ideas about black and white, see our post on what makes a good black and white image.

I photographed this high key image in Wivenhoe near our home on a misty autumn morning. Not quite Kenna style as it doesn’t have any very dark areas.

How to Photograph like Michael Kenna Step-by-Step guide

Find your Perfect Composition

This is the hardest part of the process but with a little patience you will achieve extraordinary results. Don’t rush things. Leave your camera in your bag until you have found the perfect spot to create an image from. Try to pre-visualise the final image before you touch the camera.

Look around for simple details, structures or shapes. To photograph like Michael Kenna, try to ignore the colour aspect that can be overwhelming.

To help us compose we set the Sony A7R camera to black and white mode so the images appear in the viewfinder as black and white (most mirrorless cameras have a similar feature).

If we’re using Ally’s Nikon D600 DSLR or a film camera that doesn’t have this feature then we view the scene through a strong coloured filter. This gives you one colour, and even though it’s not black and white, it helps to show the shape and form of the scene.

Exposing the Scene

To photograph like Michael Kenna, use long exposures with the camera on a tripod to get movement in clouds and water. Make sure you’re using a solid tripod, as even the slightest movement on the camera during a 30-second exposure can ruin an image. Use a Neutral Density filter to help you get the very long shutter times you need. Our 10-stop filter usually allows us to achieve 30-second shutter times in normal daylight.

We use Manfrotto and Gitzo heavy duty tripods with robust heads. They are a pain to carry but so worth it when you images are stunning. We recently tried out a travel tripod from Manfrotto but it was much to wobbly in even the slightest breeze so it’s going on eBay soon. Don’t forget your red or orange or polarising filter to darken the sky. These will also help to give you longer shutter times.

Not all of Michael Kenna’s photographs are long exposures though but they are all about simplicity. Taking the essence on the scene into a beautiful composition. Michael once referred to his images as a Haiku rather than a literary work.

The Digital Darkroom

Michael is known as a darkroom master artist and artisan and so it comes as no surprise that he does a lot of dodging and burning on his images. He also mentioned in an interview with Camerawork magazine that he uses Ilford Multigrade paper so he can dodge or burn areas at a variety of contrasts.

All of this we can do in our RAW files using adjustment brushes.

Finally, a how to photograph like Michael Kenna post would not be complete without talking about toning. Michael uses sepia tone on his images to give the highlights a bit of colour. We can easily do this to our RAW files in the RAW converter or, (and we prefer this method), use a Gradient Map adjustment layer in Photoshop.

Final and original image from our Michael Kenna style photographic trip. Drag slider to see more.

Putting it all into practice with a trip to the North Norfolk coast in the United Kingdom

The Photographic Process

Ally and I live in a county called Essex, which is about an hour’s drive from central London (or 2 if the traffic’s bad). About 2 hours drive north of us, is the beautiful undeveloped coastline of Norfolk that offers plenty of scope for interesting images. After a long hot summer we set off for 2 days photography knowing that we wanted to create something simple and stark.

The first day was stunning, bright blue sky with small puffy clouds, long sandy beaches with sand dunes, photography heaven. The second day was rainy and overcast and just awful. So how did we do? Well, the first days’ images were ‘pants’. (This is an English expression meaning rubbish!)

Tim looking for the perfect composition on the rocky pier

It was the overcast sky that gave us the beautiful stark and simple images (without harsh shadows) that we were looking for. I find this very annoying as I (Tim) am a sun worshiper and hate overcast days but there we go.

Ally trying a different angle

Once I had viewed all the potential photographic vantage points for the pier I wanted to photograph, I set up the Manfrotto tripod on the rocks and made sure it was secure. I wanted to do some longer (30 sec) exposures to give the water movement so I attached our ND filter. The exposures ranged from 10 to 30 seconds and even though I had a sturdy tripod the wind still gave me a bit of camera shake on some of them.

This is what the bit of wind did to my long exposure when it buffeted the camera

When composing I used a combination of symmetry and the rule of thirds for my horizon.

Rule of Thirds

In the Digital Darkroom

I am using Adobe Photoshop Creative Cloud (2018) however this technique will be very similar in any software that enables RAW file editing including Affinity Photo, a favourite of ours on the iPad.

Cromer contact sheet in Bridge including some edits

In Raw, the un-retouched original

In Raw with very basic edit 

The first thing I did when opening the image in Raw was to convert it to Black and White. I also set the options to sRGB (not greyscale) and the channel bit depth to 16.

This gives me an image with smooth gradients that I can add colour to in Photoshop. If you open it from Raw into Photoshop in greyscale mode you will have to convert it to RGB colour to add the toning adjustment layer. Having it as 16 bit rather than the default 8 means that there are thousands of shades of lightness per channel rather than just 256. This gives you smoother gradients without as much ‘banding’.

I then took down the highlights as some of the clouds were overexposed.

Raw gradient to get the dark sky Michael Kenna style

Along the top of the camera Raw window you will see a little gradient icon. I clicked the icon to get to the gradient area and added 2 gradients to darken down the clouds a bit.

Raw dodge and burn edit like Michael does in the darkroom

Clicking the little paintbrush along the top again, takes you to the adjustment brush area. I added a brush, painted the area I wished to adjust and then adjusted the settings on the right. Not only can you lighten and darken but also change contrast, sharpening, clarity and a host of other properties. As you can see by the dots on the picture I did 13 different brushes. Some to lighten the water, some to increase contrast and detail on the rocks. The little mask button at the bottom allows you to see the areas you are painting. I switch it on and off to see what I’m doing.

Overall on the image I lightened the highlights and darkened the shadows to get that distinct Michael Kenna look.

Lastly I added a selenium tone adjustment layer

I opened the image in Photoshop as a Raw smart object. You do this by holding down the Shift key while clicking the open image (object) button in Photoshop Raw.

If you wish to learn Photoshop on the iPad or Affinity Photo on the iPad have a look at our Udemy courses below.

Click here for amazing money off deals to Learn Photoshop or Affinity Photo v2 on the ipad with Tim’s Udemy course

Having my image in Photoshop as a Raw smart object allows me to double click the smart object any time and go back into Camera Raw to make adjustments. If you’ve never converted to black and white before, check out our post with technical and geeky explanations!

I added a Gradient map and chose the Selenium tone Gradient Map. Even though Michael Kenna uses sepia tone over selenium I thought it looked better on this particular image. The difference is that a sepia tone works on the highlights first and selenium toning works on the shadows first.

Final Image

Go Forth and Create Like a Master

As you can probably tell by the tone of this post, Michael Kenna is one of my favourite photographers and although I don’t go out to copy his work, it has always had a great impact on my personal style. Anybody can copy anybody else’s technique; however you need your own personal vision to really create you own image of he world. Learn all you can from all the master photographers but then turn all that knowledge into your own unique vision. See our post on photographing like Edward Weston  and Ansel Adams.

To sum up a post of how to photograph like Michael Kenna we need 2 things. Beautiful simple composition and lots of shadows and highlights in a toned Black and White image.

Try it out. You might find that your own style, added to this technique creates some amazing images you’d never thought of doing before. Mostly, have fun doing it.

The post How to photograph like Michael Kenna – Tutorial appeared first on ImageExplorers.

More than once, Ally and I have arrived in a new town to photograph, all prepared and excited however things don’t go always go according to plan. The weather is dire, the scene itself is spectacularly awful due to building work, there are too many tourists etc. I’m sure you have all felt this at various stages. Don’t give up! What we do in these situations is to do texture photography. Even surrounded by hundreds of tourists in a building zone during awful weather we can always find some texture detail to light up our photographic souls.

On the surface of it, many people think of textures as just background images. Filler photos to put text on top of but a beautiful texture is a joy to behold in its own right. Think of them a “mini” landscapes that very few people stop to look at and it will bring you hours of photographic pleasure.

Wales snow in sand texture

Dubrovnik roof texture

Church wood and stone texture in cyanotype style

The other use we have for texture photography is to create something that we montage or blend with other images in Photoshop. See the how-to further down this post.

Using layer for texture photography on HMS Victory hull

What equipment do you need?

We just use whatever we have with us and as we said in our bios, we travel very light. I have listed a few things below that could be helpful if you have them with you.

Ally photographing wheel textures on a UK quarry

Macro lenses for close-up

You don’t really need any special equipment to photograph textures unless you want to go really close-up in which case you might need a macro lens. These are lenses that are optically corrected for close-up photography and most of them allow closer focusing than normal lenses do.

Tripods

We find a tripod really useful if we need more depth of field with longer shutter speeds so we can keep the camera steady for that all important sharpness that we try to get. Another use for the tripod is to help compose the perfect image. Having the camera on the tripod allows us to keep the camera composed on one area while looking around to see if there are any other areas that look better without losing our original composition. This seems ridiculous, but with close-up texture photography you’ll be surprised how easy it is to lose that perfect picture, as there is so much detail to take in.

Filters

Filters can be really useful. A polarizing filter can get rid of reflections and boost your colour saturation. A single coloured filter on black and white film can lighten or darken the same or opposite colours. See our post on how to make the sky dark in a photo for more details about these techniques. Even though there probably won’t be any sky in your texture photograph, the same principles apply to other colours. So, a green filter will lighten greens in black and white film photography etc. Of course, you can always do this in Photoshop or Affinity Photo when editing your images created on a digital camera.

Texture photography on old Bristol War Department  tanker train

What to photograph

Just look around you with a critical eye. Texture photography takes in anything that has a texture, so from rough walls to smooth building marble, tree trunks to old rusty metal, there are just so many photographs to create. Ally and I love finding old buildings with weather distressed wood where the paint is peeling and the sun has bleached the colour.

Texture on South African Railway train

Old rusted farm equipment left out in fields or old trains that we come upon while walking, always yields some beautiful textures.

Don’t forget wave and sand textures

Black and white or colour photography?

This depends on what you have with you. If we are photographing with black and white film loaded, when we come upon textures we will be looking for textures that lend themselves to black and white and try to ignore the colour in the scene. (A good tip is to look at the scene through a coloured filter as this removes the multiple colours you see and allows you to concentrate on the all-important texture shapes.)

When using colour film, we look for contrasting or sympathetic hues.

Digitally you can do whatever you like. My (Tim) Sony mirrorless A7R camera has an option to view the scene in black and white through the viewfinder but it still records a full colour Raw file in case I change my mind later. I really like this feature, not just for textures, as it enables me to concentrate on the shape and texture in an image and not get distracted by the colour.

Process

As I mentioned earlier, a texture photograph can be a beautiful image on its own but should you want to incorporate it into a different image it can really bring the image to life. I mixed the photograph of the Lord Nelson ship, the HMS Victory, moored in Portsmouth in the UK with a texture photograph of side detail of the ship. This was done in Photoshop by putting the texture layer on top of the ship layer, reducing the opacity, masking out the areas I didn’t want and then experimenting with various layer modes until I found the one I liked. I used Soft Light however my usual go-to layer modes are Multiply (which hides the lighter parts of a layer) or Overlay (which gives a really increased contrast mix).

Texture photograph on ship for use in final image

Using layers with Soft Light mode for texture photography

I started this post by making out that texture photography is something you do if you can’t do ‘real’ photography due to unforeseen circumstances, but in reality, photographing textures can be an extremely satisfying process and yield some incredible images. Whether for use in a mixed layer image or as a beautiful image in its own right, you will find you can fill your photographic soul with texture goodness. Give it a go and, like us, you will be hooked on textures.

The post Texture Photography appeared first on ImageExplorers.

So you’re out travelling and all prepared to go out to photograph that amazing landscape you noticed on the drive to the hotel yesterday. Unfortunately, the weather has other ideas and it’s pouring with rain. What can you do? How about creating your own beautiful images from items you find around your apartment? In this post, I’d like to show you how to photograph like Edward Weston. Edward Weston was an American photographer born in 1886, and was regarded as one of the masters of 20^th Century photography. He photographed primarily using an 8×10 large format camera, and was known primarily for his black and white “landscape like” still lives.

Edward Weston’s most famous red pepper – photograph from Wikipedia. Find out more about him here

Learn from the great masters

Have a look at our other  ‘How to photograph like…’ series that includes Michael Kenna and Ansel Adams to see how to create images like they have.

Why remove the colour?

One of the important features of Edward Weston’s work was the beautiful shapes that he created. When we photograph the pepper in this tutorial, look at the original in colour. Yes, it’s very striking, the red on the black, but that’s all you notice – red and black. We really want to show the form and texture of the vegetable, so black and white does this beautifully.

The Setup

The photographic setup, is incredibly simple. I put the pepper onto one of my black t-shirts on the table. I set up the camera on a tripod and the whole scene was photographed next to a window. The only other lighting, apart from the window lighting, was from a large white reflector. You can use anything white to reflect light back into the image.

Camera set up for how to photograph like Edward Weston

The Photography

When trying to photograph like Edward Weston, the more gnarly and quirky the fruit or veg, the better. Unfortunately, my peppers from the local supermarket were neither, so I moved it into a position where it would at least look interesting. As it kept falling over, I propped it up with my lens cap.

Move your scene and your reflector around until you get some interesting highights on the subjects. I photographed with quite a small aperture, therefore the shutter speeds were quite long; so, a tripod was essential as I needed to ensure the camera was steady.

Tim tries a green pepper for how to photograph like Edward Weston

The Photoshop process

To get the final photograph like Edward Weston has done, we need a bit of post production.

I first opened the image in Camera Raw but you can do the same in Lightroom or Affinity Photo Raw

Original image opened in Adobe Camera Raw

Convert colour into black and white

There are many ways to convert colour to black and white and this is just one of them. See our article on converting colour to black and white with tips and techy-geeky explanations.

Darken shadows to get the Edward Weston contrast style

I darkened the black and increased the contrast and highlights so the feeling of my image was a photograph like Edward Weston although I went for a much darker overall look than he used to create.

Darken large areas with the adjustment brushes using Exposure or Blacks

Lighten highlights for authentic Edward Weston contrast

Still in the adjustment brushes, click on the New radio button at the top to create a new brush and paint in the highlights. In the highlights increase Exposure, Contrast and possibly Clarity. If you go too far you can click the Erase radio button at the top to remove any over-painting. Click New again and do the same but on the shadows, darkening them down to taste.

We’re now going to take this into Photoshop, but before we do, click on the information underneath the photograph which will then allow you to use sRGB rather than Greyscale as the Colour Mode. This will give you the ability to put colour into your image in Photoshop when you start to add the toning. If you open the image as a Greyscale image in Photoshop, you would then have to convert to RGB colour before adding any colour back in.

Techy-Geeky stuff!: Whilst you are in this area, you could also choose the 16-bit channel option, over the 8-bit channel option. This will give you thousands of shades of grey per RGB channel, rather than the 256 shades you get from 8-bit.

The first stage of toning your image in Photoshop for that authentic Edward Weston like photograph

In Photoshop, go to your Layers panel, and click the black and white circular icon at the bottom to add an adjustment layer. The adjustment layer you need is called Gradient Map.

In the Gradient Map, click on the drop down next to the gradient. In here you will see your basic gradients. But then now click the little cog to the right. This opens up some more options and you need to choose the Photographic Toning option. This will give you a lot of gradients, that replicate traditional photographic print toning. I chose Selenium 2 to get a beautiful subtle selenium tone to my final image. (If you go back to the cog, you can choose to view the gradients options in different ways, and by choosing the Text Only option, you’ll see what the gradients are called).

Experiment with various gradient map photographic tones

Using the master photographers as a base inspiration, you can go on to create all kinds of photographic styles. You can then experiment and tweak them to make them your own. This particular how-to-photograph like Edward Weston technique, works beautifully on vegetables and still lives. However, it’s also a really interesting technique on faces and real-world landscapes.

Most importantly, enjoy every part of the process!

See our convert colour to black and white in 30 seconds video.

The post How to photograph like Edward Weston appeared first on ImageExplorers.

Before we look at what makes a good black and white photo let us first see why we want to create black and white photos. There are so many reasons why we would create a black and white over a colour image and here are just a few. It could be that we’re looking for a certain cool and modern minimalist style. We might be going for a traditional classic photography look. There might even be times when the colour is too overwhelming or awful that we feel the need to remove it. Whatever the reason we need to understand what makes a good black and white photo so that our images look amazing.

What can colour do that Black and white can’t?

Colour is a great mood changer. It can add a sense of mood into an image that black and white just can’t do. Just look at the terminology we use when talking about colour. Warm colours, cool colours. The colour in the image doesn’t have a temperature but our brains ascribe certain feelings to certain colours. Red equates to warmth, comfort, passion etc. Blue equates to cold, loneliness, distance.

Contrasting colours can also augment areas and help to lead the eye around an image. Have a look at these 2 images of the Bugatti car grill below. In the colour image the red logo is the most important feature that your eye is drawn to. In the black and white image our eye fights between the circular logo and the triangle one.

The red colour in the Bugatti grill is what your eye is drawn to

In the black and white version, the eye is drawn towards the teal logo shape

So how can we make our Black and White photos look awesome then?

We have a number of tools at our disposal. Using a combination of these can create a very powerful image. I have listed three of the most important ones below but there are a number of others you will discover yourself.

Shape

Our eyes are normally drawn to very clear shapes. Triangles have a particular power to attract our attention but any shape will still add to what makes a good black and white photo.

In the colour image of the Bugatti dashboard and steering wheel, you can see that your eye fights for attention between the steering wheel and the blue of the car body, but with the black and white image our eye just goes straight in to the most important shape that is the logo on the steering wheel.

On the Bugatti dashboard, your eye fights for attention between the blue body and the yellow wood

In this black and white version, the background blue doesn’t distract the eye from the dashboard and wheel and the logo shape is more obvious

Light verses dark

Where colour images use contrasting colours to differentiate areas in a photograph, in black and white photography we can use light and dark areas. Lighter areas with interesting contrast and shapes just scream out ‘look at me’. Darker areas and less detail tend to make the brain work too hard to see the detail so it automatically goes back to the lighter, easier to ‘read’ areas. A contrasting shape will grab the viewer’s attention as easily as a contrasting colour can.

The eye is drawn towards the lighter parts and doesn’t spend much time in the dark shadows

Texture

When we look at what makes a good black and white photo, one of the really important weapons we have in our armoury is texture. Texture is the one thing that can really give a black and white image punch. It gives the eye something to hold on to.

Texture is so much more apparent in black and white photos than in colour. Use it to your advantage.

You can see how the texture in the roof really jumps out in the image of the steam traction engine compared to the colour version.

The texture on the roof shows up beautifully on the black and white

The texture on the roof of the colour one is not as obvious

Whatever your reason to create an image in black and white over colour, be sure to make the image interesting. In colour photography we can control the viewer’s eyes and emotions with colour but in black and white photos we only have light to dark tones. Finding shapes in your image as well as textures and contrast will help you to lead the viewer’s eyes around your image. This will enable them to see the image as you envisaged it.

We photographed all the images in this post at the Aldham Steam Rally, UK.

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