PictureCorrect.com: Interesting Photo of the Day: Change of Seasons in Patagonia

Max Rive‘s breathtaking image of Patagonia could very well be passed off as a painting. Look closely and you’ll be surprised at the incredible amount of detail that this image offers. The lovely, vibrant colors of the forest, interrupted abruptly with the snow-clad mountains tell a contrasting story. And the sun streaking through the branches completes the picture:

“Change of Seasons” by Max Rive (Via Imgur. Click image to see full size.)

The peak seen in the distance is Cerro Torre in the El Chalten range. While most people might prefer visiting El Chalten in November, this particular image was shot in late August when the weather is incredible and there are fewer hikers in the area.

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PictureCorrect.com: Scary Studio Portrait Photo Techniques for Halloween

Have you ever wanted to do a spooky shoot in your home studio, but weren’t quite sure how to go about it? What better way to prepare for Halloween than to learn how to turn your home studio into a sinister forest with a little bit of lighting magic and some smoke to really create atmosphere.

Gavin Hoey shows how you can easily use dark, stretched out fabric pinned to the wall as a backdrop, some branches and twigs from the garden, a couple of speed lights, and a model to create a menacing masterpiece:

Hoey uses a Flashpoint eVOLV 200 and two Flashpoint speed lights to effectively light the model. For the background, he uses the Flashpoint eVOLV 200 on a boom arm up high behind the model, and shining on to the backdrop. This creates a good silhouette of the model and the branches, and then he adds a speed light at lowest power to create a rim lighting effect on the model. To give extra spooky atmosphere, he sets his white balance to custom, at 3,500K. This makes the light a cold, blue color, such as you might find in a scary forest at night.

For his key light, he uses another speed light with a 38″ softbox on. He angles this light away from the background, so it’s just hitting the model from the side. He does this so that he doesn’t lose the silhouette effect of the twigs and branches. Hoey also adds an orange gel to the key light, which makes the model’s skin less blue, but has no effect on the blue-ish background light.

Hoey used these settings on his Olympus E-M1 Mark II to create these photos:

• Aperture: f/4
• Shutter Speed: 1/250 second
• ISO: 200

He decided to add some smoke from a smoke machine to make the images more ghostly. His tips for using a smoke machine include getting everything set up and ready to shoot beforehand, then to add a small amount of smoke at a time.

Hoey wasn’t quite satisfied with the amount of smoke in the images, so in post-processing, he shows how to add smoke to an image in Photoshop.

He also shows how to use the screen blend mode to seamlessly blend the smoke with the background, and how to change the color of the smoke using the hue/saturation adjustment so that it blends in with the smoke already in the image.

This is a really fun, simple shoot that you can do yourself. The post processing tips walk you through adding the smoke textures, and colorizing them so that they blend in. You can get really creative with shoots like these and make it as eerie as you like.

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PictureCorrect.com: How to Whiten Teeth Using Photoshop (Video Tutorial)

Sometimes teeth need some adjustments to look their best. A photo of someone with a gorgeous smile but with stained teeth can detract from your final image. Aaron Nace from Phlearn breaks teeth whitening in Photoshop down into a few easy steps and gives us some bonus info on using the liquify tool to also correct irregularities and straighten out any crooked teeth:

(for those of you reading this by email, the video tutorial can be watched here)

Make a Selection

• Use the lasso tool to trace around the edges of the teeth to make a good selection. This doesn’t need to be perfect because you can make small adjustments to the edges of your selection if necessary.
• Hold shift and you’ll be able to add to your selection, or if there’s too much in your selection you can hold alt/option to subtract a section.
• To refine the edges of the selection, go to the Select menu and choose Refine Edge. Drag the feather slider up to make the edge smoother.

Now to clean things up a bit make a new layer and hit Command/Control + G to make a group. Then click the layer mask button which then makes your selection into a layer mask. Now any changes or alterations you make on the teeth will only show inside the selection.

Saturation

Create a hue saturation adjustment layer and and select Colorize. This adds a hue to your selection. Because all teeth have some color in them, we don’t want to just desaturate the teeth but add their natural color and desaturate that. Drag the hue slider over to the yellow/orange end of the slider and drag your saturation slider down without completely turning all color off.

Underlying Brightness

Now add a new Curves adjustment layer and drag your curve up. You will need to adjust this so that it only affects the darker underlying layer so it looks more natural. Double click the Curves layer and while holding  Alt/Option, drag the underlying layer slider to the left. Play with both sliders until the darker areas are a bit brighter and the teeth in general look more full.

Use the marquee tool to make a selection around all of the teeth. Press Shift + Delete and choose to fill with white.

Now double click the layer again and while holding alt/option drag the underlying layer slider to the right and bring it back a bit until the glossy shiny areas of the teeth look full, otherwise you can make the teeth look flat and unnatural. This maintains the depth of the teeth and they will look real.

Liquify

Nace gives us a quick bonus lesson on using the liquify tool to straighten the teeth and correct some imperfections.

First create a new layer and press Shift + Option + Command + E and you’ll have made a copy of everything you see as a new layer.

Next go to the Filter menu and choose liquify. You can adjust the size of the brush and drag a tooth down or pull the lip up—anything you feel could make the image look more symmetrical and remove any irregularities.

These are some really quick tips to make a smile look much whiter. You can even choose just one of these tips and improve the overall look of someone’s teeth. Give it a try!

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PictureCorrect.com: Interesting Photo of the Day: Dumping Tea at -40 Degrees

Imagine a climate where it gets so cold that boiled water turns to ice in an instant. That’s what life is like way up in the Canadian arctic. Nature and landscape photographer Michael H. Davies lives on Baffin Island, in Pangnirtung, Nunavut, and captured this shot of his friend throwing tea in -40 degree Celsius weather. As the hot water hit the freezing air, it turned to ice particles, leaving a beautiful icy spray in the sunset:

Dumping Tea at -40 by Michael H. Davies (Via Imgur. Click image to see full size.)

Most of Davies’ photos are from around the Hamlet of Pangnirtung, Baffin Island, 20 kilometers south of the Arctic Circle. As he says on his website, it is a place for cold winter vistas, northern lights, twilight, and jagged mountain peaks.

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PictureCorrect.com: Bad Weather = Good Light for Photographers

Final reminder: only a few hours left to get the Bad Weather Photography Guide at 66% Off

We’ve all sat, staring out of our window and cursing at the rain poring down or the flat, grey sky that just happened to cloud over on few hours we’ve managed to set aside in our busy schedule to head out and shoot some photos. But all is not lost for the opportunistic and well prepared photographer.

“Story” captured by Nicholas A. Tonelli

Be Patient

After many rainfalls or storms, comes a spectacular burst of light. Often this light lasts only momentarily, but is worth waiting for. But you’re never going to catch it if you’re still staring out of that window. Part of making good photographs is being an opportunist. Weather reports are easily accessible through the internet, over the radio, and in newspapers, often with detailed information.

You might be able to find out if the cloud cover or storm is about to pass. If not, head out anyway. Yes, it might all be in vain and remain gray and unappealing until nightfall and be a complete waste of time, but what if it isn’t?

If you speak to, or read any book written by a successful landscape photographer, they will tell you stories about how they visited a place dozens of times and waited for hours before getting that one in a million shot. Have a look at that shot. Was it worth the time? Chances are it was. Imagine the satisfaction gained from someone looking at your photo and letting out a breathless “Wow!” Then you’ll be the one telling the stories. A simple way to think about it is that you get out what you put in.

Be prepared

Have you done any research on your subject? Have you visited your location at this time of day before? Do you have a list, or at least a mental outline, of the photos you want? Have you considered the equipment you might need to take? Answering these questions will take you a long way to being able to seize the moment when it does eventually arrive.

“Saguaro Hill” captured by PictureSocial member nathan mccreery

Instead of fumbling around trying to attach lenses, tripods, filters and any other gadgets that might be necessary, (and I do mean “might”), you will simply be able to step out of your car, or hiding place, gear in hand, and calmly collect the images you’ve been imagining.

A little foresight in taking care of these things beforehand allows you to focus completely on taking photos once in the field. As with anything else, if you can concentrate completely, you’ll likely do a better job.

What’s your purpose?

Think about what you are actually trying to achieve with these pictures. Do you even need blue skies? Many a moody, muted landscape has been created using the worst weather conditions. If you have an interest in shooting black and white images, you could be in for a real treat. Many subjects, such as outdoor portraits, can work better in overcast conditions, enabling you to pick up the lines in someone’s face and add character to the portrait without having to worry about your subject squinting their eyes from the sun or dark shadows appearing over half of their face.

“Rainy day at Milford Sound” captured by Stas Kulesh

Most successful photography, like anything else, comes from having a clear goal and taking the steps necessary to achieve it. It also comes from working with the elements and planning for various possibilities. Open yourself up to new ideas and you will find that your photography improves markedly.

About the Author
Mark Eden is a freelance travel photographer and writer, and the founder and director of Expanse Photography, a photographic services company offering fine art, limited edition prints as well as stock and assignment photography and publishing services. Mark can be contacted through the Expanse Photography website.

For Further Training, Deal Ending Tonight:

When the weather turns sour… most of us tend to stay inside. But poor weather actually brings some of the greatest photography opportunities that you will ever get a chance to shoot. If you want to learn some new outdoor photography techniques – effective even when faced with clouds, rain, and lousy light – then you may want to check out this new in-depth guide on the topic.

New: Top Photography in Bad Weather Guide (Click to Learn More)

We were able to negotiate a 66% discount for our readers until the end of the month October 31 (just $10). Author Kent DuFault has helped thousands of photographers like you, with his various best-selling books.

Ending tonight at midnight: The Bad Weather Photography Guide at 66% Off

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NASA Astronomy Picture of the Day: Orionid Meteors from Orion

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NASA Astronomy Picture of the Day: Night on a Spooky Planet

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PictureCorrect.com: Storm Photography: Shooting in Extreme Weather

There are four main types of weather that often discourage photographers from even attempting what might be some of their greatest work: extreme cold, extreme heat, extreme moisture, and extreme wind. While each of these has probably at one time or another discouraged even the best of us from going out to shoot, they also present unique photo opportunities simply because so few of us want to take the effort.

Photo by The City of Toronto; ISO 1000, f/9.0, 1/800-second exposure.

Before tackling each of these areas let me suggest one thing that could help in all of them. The perfect camera bag is not a camera bag. The ideal bag is a coat with many pockets—or if you can afford it, a camera vest. Why? They keeps film or blank media close to you (keeping them warm and dry), they’re less likely to be stolen, less likely to be left behind, and less likely to be knocked over or damaged by the weather itself.

Extreme cold (0Ú F or less) often means battery problems. Bringing extra batteries is one thing, but if they are not also kept warm, your spares could be dead as fast as your main batteries. The same is true of film or blank media; that’s why I suggest a coat, preferably one with inside pockets, as well. Use duct tape to tape off any exposed metal on your camera itself.

Photo by marksontok; ISO 200, f/13.0, 1/160-second exposure.

Find a set of gloves that still lets you handle your camera controls. Hunting gloves are often thin but still insulated because hunters face the same problem you do; they have to be able to make adjustments.

If you have several accessories (film, flash, filters, etc.) you may also want to consider individual zip lock bags. This works well for most extreme weather situations.

Extreme heat (120Ú F or more) may also cause battery problems, but it’s more likely to have an effect on your film or blank media. In this case it’s worth upgrading to insulated bags, like those found in many grocery stores. Another alternative to a traditional camera bag is a small lunch cooler—lightweight and insulated. If you want to use blue ice, put it in its own baggie just so no moister leaks out. Again you will want to tape off the exposed metal parts of your camera. You may or may not want to try still shooting with lightweight gloves depending how extreme the heat is. Always bring extra water for yourself. It’s very easy to get distracted by what you’re shooting and get dehydrated—or worse yet, heat stroke.

Extreme moisture (snow or rain) is the biggest threat to your equipment itself (the camera or flash or both). If we could all afford an underwater housing for our individual camera, life would be good. But since many of us either can’t find or can’t afford such a wonderful device, building your own is the next best thing. Take a large (1 gallon size) zip lock bag, place it over your camera, and cut a hole where the lens is. Use a rubber band to secure the bag to the barrel of the lens. If you have a separate lens hood, screw it into the front of the lens. If not, even a skylight filter will offer some protection. If you have both, go for it. Still keep your camera undercover when not shooting; this type of protection is only good for a few seconds at a time.

In most cases, extreme wind is not something you go out in on purpose. But for those times when it comes upon you, make sure you have some type of filter on (ideally you should do this all the time anyway). Remember a $20 filter is much easier to replace than a $300 lens. If you kept your moisture bag with you as regular camera gear, this would help dramatically. Use a tripod, and if at all possible weigh your tripod down.

Photo by Mike.

I’ve heard of photographers who regularly carry beanbags with them for this purpose. Personally, I always carry some string with me. If my tripod is not stable enough by itself, I just tie a big rock to the center column. Regardless of what precautions you have taken, try not to shoot directly into the wind. If you are one of those who regularly carry tape with you, it would be worth taping all seals on your camera if you have to be out in it for any length of time.

Obviously, not all of us want to go out in extreme weather; but if you do just plan ahead and you may very well end up with some extreme shots that will be worth the time and effort.

About the Author:
Award winning writer and photographer Tedric Garrison has 30 years experience in photography (better-photo-tips.blogspot.com). As a graphic art major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world through his website.

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NASA Astronomy Picture of the Day: NGC 6369: The Little Ghost Nebula

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PictureCorrect.com: 10 Things Successful Photographers Don’t Do

Creative photographers strive to discover new patterns, color, adventure and beauty among many other things. Creativity awakens all of a photographer’s senses, adding an artistic touch to his or her final work. Many amateur photographers dream of becoming creative photography pros. There are, however, very few who actually master the trade.

“Sunrise Horseshoe Bend Page Az” captured by PictureSocial member Clifford Briggin

Successful photographers have already learned to keep their creative juices flowing. They know a lot about every aspect of photography. Most importantly, they know what they shouldn’t do as professional photographers. Below are 10 things a successful photographer will never do if they want to stay creative:

1. Waste time thinking about gear

This is one of the most important things a successful photographer avoids at all costs. Photography gear may be important for enhancing shots, however, it’s not as important as core photography when taking creative photos. In fact, creative shots often come out better when they are taken naturally, without extra gadgets.

2. Leave the camera at home

Creative photography is all about capturing unrehearsed moments anywhere, anytime. Successful photographers know the pain of missing great opportunities. They make a point to have a camera anywhere they go. This enables them to capture interesting moments that other photographers miss. This is part of what makes them stand out.

“Untitled” captured by PictureSocial member Irina Oreshina

3. Use the same technique over and over again

There is nothing creative about using the same photography technique all the time. Successful photographers stay away from stagnant photography techniques, which hinder them from growing their skills and experimenting. The best photographers offer variety, which can only be offered by using many techniques and being open to new ideas. Successful photographers avoid monotony at all costs.

“Dreaming” captured by PictureSocial member Jacc

4. Ignore the importance of copyrighting work

Copyrighting original work is advisable for obvious reasons (i.e. recognition and compensation). Any experienced photographer know the importance of protecting their valuable work, especially if it falls under the creative photography docket. Photographers become successful by receiving recognition and financial returns from their work. Copyrighting safeguards a photographer’s future earnings on past work and also keeps a record of their creative efforts, avoiding duplication.

5. Share technical problems with clients

Although it is important to be honest with your clients at all times, successful photographers know the dangers of sharing technical problems with their clients. Being honest when faced with technical problems does more harm than good from a professional photographer’s point of view. For instance, clients can start viewing you as unprofessional, which can hurt your reputation. Successful photographers have learned to stay mute about technical problems when dealing with clients. They go as far as planning ahead to avoid occurrences where they will be forced to share technical problems. Dealing with technical problems internally also helps to maintain focus which is important to stay creative.

6. Take each and every assignment they get

“Sandy Puc Workshop” captured by PictureSocial member HConfer

You can’t jump at each and every photography opportunity and expect to remain creative. Creative photography is about inspiration. Successful creative photographers know inspiration is hard to come by; they choose their assignments carefully. For instance, they never take assignments just to make money. This is because they understand the importance of being in the right mind frame when working. This explains why they successful photographers don’t take assignments just to please clients. They have to feel inspired.

7. Create friction with event planners

Successful photographers also avoid creating friction with event planners at all costs. This has something to do with staying focused and being able to explore. Successful photographers understand the important role event planners play in their success–they provide photographers with the necessary support they need to do a great job. For instance, event planners obviously have a lot of influence in things like venue set up which can affect the final outcome of creative photography.

8. Try to be the life of an event

This is another mistake successful photographers avoid. Successful photographers understand exactly what their job is at any event. They know their work is to capture memorable times. This explains why they never go overboard trying to interact too much with guests. Don’t try to network or entertain guests, because you will end up losing focus.

 9. Do everything themselves

Successful photographers concentrate on their core work. They don’t do everything themselves. Doing too much at once definitely shifts focus and concentration.

“Gringotts” captured by PictureSocial member Arthur Taylor

10. Ignore the Internet

Finally, successful photographers never underestimate the power of the internet. They recognize what works and what doesn’t. The Internet can be a great source of inspiration for photographers looking for new creative ideas.

Aspiring photographers should avoid common pitfalls that can easily stall their creative photography careers. Although there may be many other professional photography taboos, the above information is adequate enough to guide amateur photographer in the right direction.

About the Author:
Swee Shiong Chong writes for sgeastphoto dot com, a photography blog on techniques and equipment that is used in creating all types of photography from around the world.

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PictureCorrect.com: 8 of the Most Important Photoshop Tools for Photographers

Adobe Photoshop is one of the most well known and most commonly used image editing software programs in the world. It’s used worldwide both personally and professionally. When people see a picture they believe too good to be true, the reply is often the same: “That’s Photoshopped.” What many people don’t realize is that many of the images you think are just perfect shots are touched up using Photoshop, whether that be adding a little brightness or totally removing an undesirable person or section. When Photoshop is used correctly and not over done, it can make amazing imagery even better!

photo by AMINE KAYTONI

While every tool in Photoshop has its use, and, when you know what you’re doing should definitely not be overlooked! One thing you need to remember is that Photoshop isn’t there to “fix” a photograph, a bad photograph is always going to be a bad photograph. Of course the tools you find useful are going to differ to those someone else finds useful, so it’s all a matter of opinion, but if you have a great photograph and it just needs that little touch up, then here are our eight of the most important Photoshop tools for photographers:

1. Hue and Saturation

The Hue and Saturation tool enables you to control the colors in your images based on, well, their hue and saturation. To open the Hue/Saturation tool you can go to Image > Adjustments > Hue/Saturation.

photo by Jeff Kubina

Hue refers to the color in your image. Changing this will change the colors in your photograph and so this setting is usually best left untouched.

The tool you’re more likely to use here is saturation; this is the intensity and richness of the colors in the image. When saturating an image you can use the Master box found at the top of the Hue/Saturation toolbox to choose which colors you’d like to saturate. The colors you’re going to want to saturate most are the reds and yellows in your image rather than the blues. Adjusting the saturation allows you to make it look more natural and dramatic while not changing the colors or image too drastically.

2. Cropping

This is one of the more simple tools you’ll find yourself using, but that doesn’t make it any less valuable. Cropping is a valuable tool for photographers as it allows them to prep an image for posting online or printing: taking an image and changing its size and/or removing unnecessary empty areas. You can save presets for various sizes and resolutions, enabling you to crop images specifically for various reasons.

photo by Thomas Leuthard

3. Layers

Layers are another simple tool that any Photoshop user knows how to use. But while simple, this tool is actually one of the most useful. Layers allow you to work on parts of an image without changing others. There really isn’t much more to say about layers than that, they allow you to layer various edits and section each, remaining its own separate section and having no impact on any other.

4. Levels

The levels tool allows you to correct the tonal range and color balance of an image by adjusting the intensity levels of images shadows, highlights and midtones. When editing the levels of an image you are shown a histogram, which is essentially just a visual guide for adjusting the image tones. You can find the levels tool by going to Image > Adjustments > Levels.

The histogram represents the dark and light tones within the image. If your histogram is mainly pushed to the left hand side it represents darker tones in your image, whereas the right hand side shows brighter tones. This is a tool you’ll likely find hard to use, but with slow adjustments you’ll notice how it can influence your images.

5. Sharpening

Sharpening is a hard tool to use; it requires a lot of practice and a very steady hand with a mouse. Sharpening an image is basically touching up all the lines and increasing their contrast, this will cause smaller features of an image stand out more. Sharpening your image is usually one of the last edits you’ll find yourself doing. The sharpen tool also has an “Auto Sharpen” command which may save you the time. When sharpening an image you should remember there is a fine line between sharpened and over-sharpened; over-sharpening an image will cause it to look unrealistic.

photo by John Flannery

6. Healing Brush

The healing brush is used to replace scratches and small specs you might have noticed in your image. It works like a paintbrush tool but allows you to take a “perfect” part of your image (let’s say you focus on the blue of the sky) and copy that part of your image over the top of the spec or scratch you’ve found within your image. This tool will attempt to blend the section you’re copying with the area you’re covering; this means nothing looks out of place.

7. Exposure

Exposure adjustment corrects the tonal values or lightness of HDR (High Dynamic Range) images. You can find the exposure tool in Images > Adjustments > Exposure. This allows you to edit three settings: Exposure (this adjusts the highlights of your image while ignoring the darker areas of your image), Offset (this darkens the shadows and midtones of your image while ignoring the lighter areas), and Gamma (this adjusts the image’s gamma or midtone values).

photo by cadillacdeville2000

8. Vibrance

The vibrance tool saturates the colors in your image, focusing mainly on increasing the intensity of colors in your image. Vibrance works much like saturation except it avoids skin tones (mainly oranges and yellows), so it’s perfect for images that contain people; it saturates their skin tone without making it seem unrealistic but adds to every other color in your image. A simple rule to follow is to use saturation when removing color from an image as it removes color from all colors, and vibrance when adding color. Vibrance essentially acts as a smart saturation, as it will only add color to the dull colors already in the image and not every color while avoiding skin tones.

About the Author:
Antonio has been an active photographer for more than three decades. An artist, coach, and teacher, he has developed a unique educational philosophy centered on the creative process and the transformational learning experience. He taught photography and digital imaging at The School of Media of LCC (The University of The Arts London) for more than ten years. Antonio has trained and coached people from all over the world to the highly professional standards of National Geographic and he is currently developing new educational projects on photography and creative development. He is now the owner of London School of Photography, where he runs classes and courses for novice photographers.

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