Experimental Digital PhotographyThese camera painting digital photographs were created entirely with light painting techniques and camera movement. I’ve seen many articles on the web explaining the basics of digitising film negatives or transparencies with a digital camera. Very precise control over colours, highlight and shadow curves, while making use of the vast film dynamic range. All the following instructions have the objective of achieving the best possible resolution, colour depth and dynamic range out of the film, while keeping image noise as low as possible. Again, ideally you should either use a macro tube with a prime lens or a macro lens, but if you don’t have any of these, your kit lens will also do the job, with a bit of loss in usable resolution, due to cropping. The basic idea is pretty simple, you need a diffused, homogeneous light source, a way to hold your film, and a digital camera focused on the film.
What you need is to pick the sharpest lens you’ve got, and make it focus close enough so that the picture in the film, fills up the camera sensor as much as possible. After making sure that the camera is focusing precisely on the film, you must keep everything stable enough not to bump into some of the parts during scanning. Set the white balance to the warmest possible colour (such as incandescent or candle lighting), for colour negative film.
I usually place the flash at about 30cm away from the film and make it shoot through a cardboard box so that the light doesn’t splash all over the room and cause unwanted reflections on the film. This process is pretty much straightforward, once you’ve set up everything correctly, you just shoot, slide the film to the next frame and shoot again.
You may use any RAW development tool such as Lightroom, Aperture, Camera RAW or Capture One.
The first two steps affect all the images in the same way, so we start by selecting all images. While keeping every image selected, the next step is to invert the colours, to get a positive image. You can now select a single image at a time and as a starting point, use the auto white balance tool to get a good approximation of the original colour. This is perhaps the most interesting and creative part of the post-processing as it lets you capture all the awesome dynamic range of film, with a great level of control over the tone, highlight and shadow curves.
You can now increase the contrast at will by adding points in the middle, looking at how the curve affects your image.
You may notice that even after moving the temperature slider all the way towards the blue end, I still get a blue tint. As you can see, the greenish blue tint is gone because I’ve moved both G and B curves down.
This process takes some time (although you’ll get quicker with experience, and it definitely takes more time explaining than doing) and it’s probably the one where you will loose the most part of the whole process but for me, it’s also the most creative and rewarding step!
After this you may want to use the Spot Removal tool to remove blemishes, dirt or scratches and then select all the images and hit “Save Images…”. About the author: Paulo Ricca is a photography enthusiast and computer science PhD candidate based in London. I can create a contact sheet by placing a sheet of negatives on the light table then process as you suggest. The folks at National Geographic just did a solid favor for all the adventurous outdoor photographers out there.
After a lot of speculation and a juicy tidbit here and there, a more complete spec list and first photo of the much-anticipated Canon 5D Mark IV has leaked. Recently I got a message from a person who said that they liked my pictures, but unfortunately they don’t have a "photographic eye." This inspired me to write the following article about basic aesthetics and their relationship to photography. The multi-aperture computational camera is an exciting technology that's emerging in the world of photography, and it appears that Nikon wants in. VSCO today announced the launch of its new Open Studio, a free-to-use massive studio space in New York City.
If you wanna capture quality product photos on the cheap, this short little DIY tutorial is going to be a great resource.
This photo shows what Sports Illustrated photographer Simon Bruty packed for the Rio 2016 Olympic games, the 8th Summer Games he has covered. Lightroom is a very powerful tool, and this quick timelapse by filmmaker and photographer Bart Oerbekke demonstrates how a series of simple edits were able to really bring one of his landscape photos to life. Animals stealing action cameras is nothing new—monkeys, seagulls, and foxes have all gotten their 15 minutes of fame this way. Want to see how a Pulitzer Prize-winning photographer responds to a request for free images in exchange for "credit" from a major news corporation?
News Corp photographer Brett Costello was robbed of $40,000 in camera gear at a cafe in Rio a few days ago. After showing you how to make a tripod using a piece of string, I’m going to go a little more surreal this time by explaining how an old frying pan can be used to get dramatic low angle images. I really love the combination of street photography and rain, since rain changes the mood and the city completely. A double exposure is a creative technique where you combine two (or more) photos in a single image. So, for a good double exposure you must have images with dark areas in them that will overlap (otherwise you'd just end up with a bright, blown out image). For creating a double exposure photo, many modern digital cameras allow you to do this in-camera. If your camera can take double exposures, it is well worth playing around with it and exploring the different options. For the purposes of this article I'll be using Photoshop Elements, as that seems to be the most popular. In the layers palette click and drag the layer from the active image to the other image while holding down the shift key on the keyboard. You should now have both images as layers in a single document, so you can close the other image that you just copied the layer from.
While 'screen' blend mode accurately blends the photos together in the same way that a real double exposure would, the other blend modes are also worth experimenting with. Overlay blend mode will make areas where both images are bright brighter, while areas where both are dark will become darker.
Another benefit of using image editing software to create a double exposure is that you can re-position the images and use layer masks to adjust where the double exposure occurs. For example, for this image I wanted to place the traffic cone within the silhouette of the horse's head. But by using a layer mask, it is relatively easy to apply the double exposure only to the horse's head. You don't need to stick to having images the same way round, or even the correct way round. In the old days (not that long ago!) creative photographers used unconventional darkroom techniques to create composite images.
I am going to use an example of my son climbing onto an old pickup truck (click the image above to take a better look). After picking the images I wanted to combine into the composite (you can literally use as many as you wish), I cropped the two composite images down to help reduce the overall file size of the final composite. Now grab the paint brush and go back to where you left the second image and begin carefully painting the area with white.
When photographers think of pet photography they tend to imagine one of two possible groups of animals – the formal domestic pets or the wild animals. Before attempting to get started in pet photography of any kind (wild or domestic) it is important to a bit of study or research. The research for the domestic pet portrait is more observational and simply requires the photographer to visit the animal, or animals, home and allow them to get used to their equipment and their person.

For example, if a few house cats are very comedic and seem to enjoy making their human housemates laugh, you will be able to observe this and figure out a few ways to get their humour on film. Where wildlife is concerned, however, the observation process may not be so easy and can even necessitate the use of blinds or hiding places.
Pets become part of the family so we should take every opportunity to capture the special moments and i’m sure their will be many.
The basics are quite simple: you take a photo of a negative into a light source and invert.
Also, when you scan, you make some artistic decisions over contrast and colour that are often definitive. Even if I did, good film scanners cost a fortune and I get better quality from scanning the film with my DSLR than I would if I used an average scanner.
Some people do this because it’s faster than using a scanner, but that depends on how much time you spend post-processing, and I do spend a bit more than I would like to admit, but it is a time spent doing something that gives me pleasure, not pressing buttons on a poorly designed software and waiting for a tedious scan.
You could set up your flash as slave and trigger it with the in-camera flash but you would have to do it in a way that it wouldn’t get any light reflecting off the film surface, which may be a bit hard. Because you’ll be focusing at a very close distance, the depth of field will be very narrow, so focusing precisely and keeping the distance between the film and the camera exactly the same throughout the scanning.
The combination of equipment that works best for me is a 35mm 1.8G Nikon lens with a small 20mm macro extension tube.
This makes sure that the camera won’t try to change focus every time you take a picture.
Some cameras let you manually configure the light temperature so push it all the way to the warm side. Most lenses have their sharpest aperture at around f8 and we do want the sharpest possible image, don’t we? I have also cut a small hole in the cardboard box and place a lamp above it to have some light shine through the negative and make my life easier when focusing.
Just make sure you have put the film in the right way and not inverted, as it will make your life easier later on.
The way I do it is to set my camera to show the pictures on “Highlights” mode, which makes it obvious when I’m making a mistake.
I usually use Adobe Camera RAW (the RAW development tool that pops-up when you open RAW files on Photoshop) and occasionally Capture One when I just can’t reach the desired colour in Camera RAW, such as with underwater shots (Capture One has wider envelopes for white balance values, for some reason).
This can be done going to the Point tab of the Tone Curve Settings in Lightroom and moving the left point of the curve to the upper left corner and the right point to the lower right corner.
I won’t be able to correct for all the blue excess at this stage because Lightroom trims the white balance envelopes, but we can correct that afterwards in the curves panel, as you can see on the next step.
Because we have inverted the colours, the left end of the curves represents the highlights and the left, the shadows.
In this case I was mainly looking at the skin tones and how the parts in the shadows develop into sun lit highlights (which is one of the good things about shooting film, if this shot was taken with a digital camera, the highlights would probably either be blown out or have a bad-looking yellow tint).
This can be corrected by changing the curves on the different Red, Green and Blue channels. After that I also noticed the image had a slight undesirable red shadow but overall it could use a warmer tone so I added one point in the lower half of the R channel and moved it below the diagonal, and another in the upper half and moved it a bit upwards. It’s also a good idea to select sRGB instead of the default Adobe RGB colour space by clicking those blue parameters on the bottom of the window. They put every US Geological Survey (USGS) topographical map from across the United States on one easy-to-navigate site and made them easy to print out at home. A 60TB drive would be massive by any standard, but the latest Seagate SAS drive is mind-blowing for one other very important reason: it's a solid state drive.
In it, you see how an $8 IKEA table turns into a full-fledged product photo booth with just a few modifications and some creative foam board placement. Louis Post-Dispatch who won the Pulitzer Prize with his paper this year for his coverage of protests in Ferguson, Missouri. Then yesterday, while covering an event at the Olympics yesterday, Costello spotted the thief pretending to be him.
Photographer Aaron Anderson has put together a lighting tutorial that will show you how he uses one light, a black flag, and a white card to capture beautiful, dramatic headshots.
The Canon 1D X Mark II squares off against the Nikon D5 in a series of tests including sports shooting and hand-held low-light high ISO street photography. It is quite an old technique, before digital it meant capturing two exposures on a single frame of film. While the exact implementation varies between camera manufacturers, most allow you to take a single photo, then for the next photo the first photo is superimposed on the screen. And even for those that can, they can't match the control you have when creating a double exposure in software.
Since screen blend mode adds the exposures of the two images together, it is best used for bright, high key style images. Any areas of either image that are dark will appear dark, while only areas of both both images that are bright will appear bright. The combinations of different colors overlaid on top each other can look a bit strange (depending on the chosen blend mode). But by moving the image of the traffic cone, the double exposure doesn't cover the whole image, and the image doesn't look very good. Because the area around the head is bright, a clean mask is not needed - the double exposure won't show up in areas that are already bright. For example, to put this chicken inside the horse's head I've flipped the chicken photo vertically and moved it. For this portrait shoot (yes, I am calling it a portrait shoot!), I had my two year old son climb onto the side footboard of the truck and work his way up to the front fender. Be sure to leave plenty of space around the area of the image you are cropping so that you have enough visual cues to easily line it up within the base photograph. Make sure that you have the mask selected and that you are not painting directly onto the composite layer. Now repeat this process with any additional images you wish to include in the main photograph. For this discussion we will take a quick look at each style and consider how to get the best effects. For example, if you plan to find the nesting area of some Great Horned Owls and wait for them to emerge at dusk, you might also need to know their general habits, whether or not they are hostile, and how they might react to your presence. This is an ideal way to also learn a bit about an animal’s personality which can then be captured in the photographs taken. If, however, an animal is more serious and dignified you will quickly discover this as well, and your time spent in observation can allow you to mentally prepare your camera for the best shots. When you do locate the position you will use for your photographic sessions, you will want to remember to put your camera into silent mode and disable the flash unit.
You may want to reconsider this because there are few animals whose eyes do not reflect the light back at the sensor, and this can often ruin the quality of the image. Consider that you will probably use a slower telephoto lens that with the camera mounted on a tripod to prevent shake, and without the flash the shutter speed may be too slow. She teaches enthusiast photographers how to take beautiful, professional photos in easy, plain English.
Either one of them spoke about the technical side and confused me or how you could only do certain things if you were a seasoned pro.
To read more about this and view all the thumbnails for this show go to the home page for this exhibit. Right now I can get higher resolution and better image quality that what street labs give you on CD.
By leaving these decisions to a machine or someone else, you are losing control over your creative freedom.

I think each time I’ve made a scan I’ve got better results than the time before, because I keep improving the process and now I’ve got to a stage I’m quite happy with the results. In order to achieve this, several people developed different techniques, such as using a shoe box, simply a tripod and a glass table, or even a tube made from toilet paper rolls. This is because colour negatives have a brown film backing, so we want to neutralize it’s colour as much as possible. The screenshots were taken from Adobe Camera RAW but you can do pretty much everything I explain here with any other package. In Capture One I do this by going to the Exposure Tab and under Levels, and moving the lower left point to the right and the lower right point to the left. You can look at the histogram to check where each of these ends begins, and move the end points closer this image envelope, but not too close to the limits.
In the end I made slight adjustments to the RGB channel to accommodate the colour changes I’ve made.
Adobe RGB (or aRGB) was supposed to cover a broader colour space but due to poor implementations, it brings some problems when printing or showing the image on the web. Last Friday, Carson was contacted by what appears to be a CBS account on Twitter that regularly Tweets requests for image usage.
Incredibly creative, he frequently manages to surprise and delight us with his unusual portrait assignments.
But with today's modern cameras and software, creating a good double exposure image is much easier. An area that is bright in either image will appear bright in the final image, while an area that is dark in both images will appear dark in the final image.
But if you have an image with both bright and dark areas overlapping a dark area on the other image, then there is a greater chance of achieving a much more interesting image.
This makes creating an effective composition much easier as you can see what the final result will be. Or change how the two images are blended together, and use a blending method different to the traditional 'additive' one. Any image editing software that supports layers and blend modes can be used to create a double exposure. It can be useful if you have reasonably bright images but don't want to go for a high key look. The fact that double exposures tend to emphasize shape as the main compositional element I think also reduces the need for color. You just need to put in a little thought when capturing the images to try and select shots with both dark and bright areas that will work well together.
The product will still cost you the same as if you went direct, and the commission helps pay for running this site. Today with a bit of planning, a tripod and Photoshop, you can reliably create interesting and unique composites images. This is simply a string of digital photographs of my son climbing onto a truck that have been brought together in Photoshop as a single composite image. In this case, I used one of the first images of my son standing on the footboard of the truck. For this composite of my son climbing onto the truck, I brought in several other images including one of a properly exposed sky. Additionally, your research might make it much easier to locate the birds in the first place and to stake out a better spot to photograph them. Additionally, you may permanently “spook” an animal from the area by blasting them with a flash unexpectedly.
If you absolutely must add a flash to your gear you may want to add a flash extender which projects the light in a bit of a diffused and less startling manner.
She has a monthly photography emagazine and ebooks to help you create stunning images every time. I have tried variations of these in the past and ended up developing my own film holder using laser cutted mdf (schematics for hand or laser cutting can be found on thingiverse, with instruction of how to build it). So what I do is to keep the flash at its highest strength as long as it doesn’t blow out the highlights and when it does, lower it by a stop or two, and then raise it again for the next picture. You may try several different points until you find one that more closely matches the correct colour. Notice that inside the channels, the curve is not inverted, so the darker end is on the left side and the brighter, on the right. In this quick guide, I walk you through the basic steps of bringing together several digital photographs to create a composite image.
With the second version of my son moved on top of the base photograph, I eased him into place climbing onto the fender. Using a soft paint brush will help you create a natural transition between the composite image and the background. I have added birds, the moon and other elements to digital photographs just to jazz them up a bit (in this shot I brought in the moon from a different photograph to add some interest to the sky).
If you absolutely must have additional light, you will want to try to use ambient lighting and camera settings whenever possible. I’ve designed this because it allows me to setup and scan a whole roll very very quickly, with very high precision! So, in this example, to achieve the image on the top, I moved the left end of the blue and green channels a bit to the right and added one or two middle points in each channels to control the middle of the curve. This technique can extend well beyond creating silly shots of your kids by allowing you to combine elements together in a single photograph that wouldn’t normally be present at the same time.
I also connected a shutter release cord so that I could fire off the images without bumping the camera.
Anytime you are shooting movement (even slow movement) make sure you have the shutter speed dialed up a bit.
You can turn the layer’s visibility off and on to confirm that the composite image is in the right place by clicking the little eye ball in the layers pallette.
Right click anywhere in the main photograph with the paint brush tool to adjust the softness of the brush.
The instructions below are broadly independently of which type of film holder you are using. Just remember that because you have inverted the curves, the slides now work in the opposite way, so if you think the image is too blue, move the slider towards the temperature slider towards the blue end. Next I composed the image and manually set the aperture, shutter speed and white balance so that they didn’t change automatically from frame-to-frame.
All three positions of my son on the truck were far enough apart to make the sequence interesting. You can switch back to black to paint over any areas that you didn’t mean to reveal with the white brush. Although it can be a little tedious, setting your camera manually can help make the processing the final composite easier later on in Photoshop. If your exposure, color balance or depth of field vary from one image to the next, it can be tough to match things up later on. Once you think you have enough shots, it’s time to take the images into Photoshop for processing.

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