The practice of dodging and burning to manipulate exposure in different areas of an image dates back to the early days of film photography and the wet darkroom. Today we do the same thing in the digital darkroom to add drama and depth to our photos.
Photoshop has a number of tools for accomplishing similar tasks, and sometime the approach you take is a matter of personal preference. Other times, however, like in the case of Flow, Fill and Opacity, tools may appear to control the same variables but the differences are worth noting.
If you want to really turn heads with your portraits, you might consider giving them a little glow. Yes, this can be done in-camera in radiant backlit or direct window light shooting scenarios, but you can also add an awesome glow to portraits in post-processing. In the below tutorial from f64 Academy, Blake Rudis shows you how.
Many of us tend to forget that Photoshop isn’t designed exclusively for photographers. In fact, graphic designers, those who design websites, and many other content creators, use this powerful software.
There are a number of ways to portray sunset scenes, from images with a natural-looking effect to those that are more vibrant and intense. You can sometimes achieve the look you’re after in the camera, but other times a bit of processing is required.
Tilt-shift lenses are very powerful tools for all sorts of shooting from landscape to architectural photography. They enable you to fine-tune perspective and enhance depth of field by maximizing focus throughout an entire scene.
Spring is long gone, and summer ended almost a month ago, but that doesn’t mean the time for capturing great macro images is over. There are many opportunities to pursue close-up photography year-round.
Photoshop users know that Vibrance and Saturation are similar but not quite the same, and these tools can be employed separately or together for different purposes. Lightroom, on the other hand doesn’t have a Vibrance tool, and if that sounds crazy just take a look; all you’ll find is a Saturation slider.
One of the most daunting challenges in Photoshop, regardless of your skill level, is doing a precise job of cutting out hair and fur. But in today’s tutorial you’ll learn a remarkably easy trick for achieving great results.
Have you ever searched for Photoshop’s White Balance Tool, only to come up empty? Well, join the club. The futility of that search isn't because you looked in the wrong place, but because, surprisingly, that tool doesn't exist.
Like it or not, knowing how to effectively process your images is part of being a photographer and everyone has their own approach. Some of you use Lightroom, others prefer Photoshop, and still others employ a combination of the two.`
So what goes into making an epic landscape photograph? That’s a difficult, if not impossible, question to answer because the notion of artistic beauty is a very subjective matter. What we do know, however, is that you have to check a few boxes off your list before any image can be considered fantastic.
Anyone who has used Photoshop knows there are usually several ways to accomplish the same task. Some are complex and best used by experts, while others are super simple and can be handled by anyone.
It’s often necessary to use slow shutter speeds to get the results you want, even when shooting during the day. And editing images made with long exposures sometimes requires a different approach to post processing, depending upon the effect you’re after.