Tag Archives: Tutorials

Rob’s Famous 30-Second Modeling Lesson

I work with quite a few inexperienced models or people who are trying modeling for the first time and I frequently have to give them some basic instructions.  There are even times when I’m working with experienced models and find they need to be reminded of a few things from time to time.

Over time this has grown more than 30 seconds, but there are the major points I like to cover to help people with posing.  Even photographers who are wanting to photograph people in posed settings can benefit from these pointers, so I thought I would put them down in e-print for everyone to have available.

Arms and legs bent.

This is primarily a rule for posing women, but it’s useful for circumstances with men.  The idea is that straight lines tend to form hard edges which produces a more masculine look.  Women generally are better represented as soft, smooth and curvaceous.   Every joint should be bent if even just slightly.   Straight legs, arms and in particular fingers need to be avoided.

Our bodies are designed to generally form a straight line with our shoulders balanced above  our hips.  Rule #1 above though says bend it if we should and putting a gentile to strong S curve in the subject’s body makes for a more interesting pose.  Generally the hips and shoulders should be offset from each other and if they can be kept parallel even the better.  It’s are to tell someone how to do this, but generally starts with shifting the hips from having one leg bent a bit more than the other.  Studying other photos and practicing before your shoot will help you master this skill before you show up for the shoot.

Notice the curve drawn from her head to her feet with her shoulders and hips offset

While Tyra Banks does come up with some really whacky things from time to time, she has the experience of a super-model and frequently her ideas are important ones.  Smize is one of her whacky terms that is critical for the success of fashion and glamor photography.   Smize means “Smile with your Eyes”.  As you’ve probably no doubt heard in your life:  “The Eyes are the Keys to the Soul”.  In people photography, eyes are everything.  And even if you’re giving a fierce expression you must still “Smile with your Eyes”.  That is your single biggest connection to the camera and one that you need to nail down.

If you are tired, hung-over, bored or for any other reason not into the shoot, your eyes are going to sell you out.  Your photographer should notice this and do what they can to re-engage you in the shoot.  But it’s not the photographer’s job to make your eyes smile, it’s yours, the model.   This also can be practiced.

Related to Smizing, is finding your light.  Lighting isn’t just the business of the photographer.  The model doesn’t have to know lighting ratios or the difference between a barn-door or a snoot, but a model does need to know where the main light source is.  In photography terms we call this the “Key Light” or simply the main light.  It’s the model’s responsibility to know where the main light is coming from and try and orient the poses toward that light.  In many settings, there will be a brighter light on one side than the other.

If you pose away from the brighter light, you get shadows and more importantly you don’t get enough light in your eye sockets to bring out the beauty of your eyes.  You get bags, dark areas and other un-pleasantries.  Now of course the photographer may ask you to pose away from the main light if they are going to effect, but a majority of your photos you should pose toward the key light.

If you don’t know, ask.  Photographer’s are happy to let you know that.  Even if you’re shooting outdoors and even if the photographer has put the sun behind you, you can tell which side of your body is better illuminated and pose in that direction.

This is another Tyra-ism.  Even if the photographer is photographing you from the shoulders up, how you hold the rest of your body is important.  If your arms are just dangling, or your back is slouching it’s going to carry through your facial expressions.  Every shot regardless of what’s going on, you need ot assume the photographer is shooting full length unless they tell you otherwise.  Even if they do, its a good idea to pose head-to-toe.

Notice how her arms are offset to avoid being too symmetrical.

If you’re holding your hand’s above your head for instance try to have the hands and elbows at different heights and angles.  If your hands are lower, have them at different heights.

Dangling arms and hands are bad bad bad.  You’re photographer, may not always know how to tell you to deal with it.  You should always do something with your hands.  Studying other photos and practicing in front of a mirror will help you make this second nature.  It gets a little frustrating to always be reminding the model to do this.

Do this every shot unless the photographer asks you not to.  Along with this, if you’re leaning back on your arms, don’t put too much weight on the arm facing the camera because your tricep (the muscle in the back of your arm) will produce an unsightly bulge and the photographer will be fixing that along with your tummy roll because you didn’t suck in your tummy.

This is hard to do when you’re putting your arms over your head which can be good poses.  But you need to angle your body so that your armpit isn’t aimed straight at the camera.  Oh yea, make sure to clean them.  Stubble, bits of fuzz from cloth caught on the stubble and deodorant flakes put more post-processing work on the photographer.

Barbie Toe: Standing on your tippy-toes, elongates and tones your legs and makes them look longer. Along with this point your toes if you’re in a laying down pose. Curled toes don’t work. Avoid the duck face. It IS NOT pretty.

Attending photography meetups are a great way to learn . . .

more about photography.

TriangleStrobist01

You have that new camera you just picked up and you’ve tried to read the manual and it kinda makes sense, but you want to go learn and shoot some stuff. Yet you spend another night with the manual taking pictures of your furniture… There could be a good way to solve that problem.

Photo meetups!

In many communities, photographers get together and go shoot stuff. It could be anything from shooting sunsets to shooting urban decay to events like a small town rodeo. At meetups you get to meet other photographers who’s experience runs from someone who just got their first camera to seasons professionals — all sharing a common love of photography.

There are three main ways you can find meetups. Flickr, Meetup.com and your local computer club.

Flickr

Many photographer’s have found each other through Flickr. Flickr is a photo sharing service that has put a lot of effort into the social aspect of photography. Flickr has good tools for meeting other photographers. You can easily search for photographers, mark them as contacts and friends, email them, comment on their photos, mark your favorites and so on. Flickr also has “Groups” which let people come together on various interests. If you are into photographing urban grunge, there is a group for that. For meetups though, you need to find groups based on your location.

Searching for your city or region will give you a list of groups in your area. You can look at the information for the number of photographers and last activity. Find the one with the most photographers and recent activity and join them. If those groups are not currently having meetup’s free free to make a post inviting people to come to a meetup.

If you’re lucky you will find a raging active community with multiple meetup chances. Here in Raleigh-Durham, North Carolina we have three groups that manage active meetups:

The Raleigh Flickr Group and Raleigh Social group are tightly coupled. RFG holds a standing 1st Tuesday meeting every month. The topics vary, but frequently they are shooting based and generally involve meeting for drinks and dinner then shooting afterwards. RSG fills in with ad-hoc meetups that are scheduled when people feel like it and can vary from just getting together to random shoots. In addition to shooting and social meetups, these groups also get together to talk about post processing with programs like Adobe Photoshop or Lightroom .

Triangle Strobists is a bit more focused on using camera strobes for more creative lighting. Almost all of their meetups are shooting meetups where the photographers get together and share knowledge and equipment. They meet on the 3rd Tuesday every month. The photographers of Triangle Strobist are a sub-set of the overall Raleigh/Raleigh Social Group groups, so in effect we have two standing meetups and a lot of ad-hoc ones.

In all cases, the groups are open. There are no dues like clubs, you come when you can and no one judges you based on your skills. If you show up with a point and shoot or a pro grade camera you will be equally accepted. You will find this kind of openness among the Flickr meetup communities across the world.

Meetup.com

Meetup.com is a website for meetups, not just photography, but for any thing. But photography people make good use of it. You put in your topic you are interested in and your zip code and the website will present you with a list of meetup groups along with the number of photographers and you can find out how often they meet and what previous topics are.

Searching for a Raleigh zip code and photographers, 11 groups were presented. Some of the more popular ones include:

Local Camera Clubs

You can use Google or check with your local camera stores to find information about any local camera clubs. Many cities have them and some will be more active than others.

These various groups are great ways to meet new people with common interests and learn more about photography.

Are there any resources that you have found that helps you? Leave a comment below.

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Rob’s Rapid Photoshop Color Correction Technique

Of course I can’t take credit for this. I learned it from another photographer and I know others who use it as well.ir-leasing.ru

The best way to color correct is of course to use a calibrated monitor, color management, but for many, color management is overly complex. Since we don’t all have calibrated monitors and all our viewers won’t have managed systems anyway, we need to know how to color correct “By the Numbers”.

Color correction “By the Numbers” is a common practice used by image technicians who prepare images for four-color print systems that you see for newspapers and magazines. The inks and papers may vary from run-to-run or from day-to-day. They use a technique of using levels and curves to make sure the image calls for the right amount of inks by sampling areas of the image and working the color channels until they get certain numbers, for example they adjust until skin tones are a certain mix of Cyan, Yellow and Magenta.

Well we can do a similar process for our images. Since most of you are probably outputting photos for web use, or printing at mini-labs, if we are to avoid color management, we need to work in the sRGB color space. Most camera’s will default to sRGB and for those that can use other color spaces, like Adobe RGB, set it to sRGB then set Photoshop (or your image editing tool) to use sRGB and you will have the best bet of having your colors consistent through your whole workflow.

Now most pro’s will not use sRGB since it has a limited color range, but these same pro’s are working with color management. If you want maximum performance, sRGB won’t be for you. Think of hese different color management workflows as the difference between music on a CD and music on vinyl. Most people think CD sound is clearer, though there is a loss of information. For some, vinyl provides a more rich sound, despite the static and noise. sRGB is like the CD, Adobe RGB and Color Management is the vinyl.

This technique works well under most circumstances. Where it becomes problematic is when either you’ve overexposed the photo where there are blowouts or where there isn’t anything “white” in the photo. The technique can be used for these, but you have to be careful. But for this tutorial we are going to keep it simple and assume we have whites to work with.

In our example photo above, we have a photo with a yellow cast to it. There are several candidates for white. The boards should be white. The ice of course should be white and there are several white targets in the two different uniforms. The camera was set to Auto White Balance and under arena lights, things can get off from frame to frame.

To do a quick color correct, use the “Levels” tool. You can bring this up by pressing CTRL-L on a PC or Apple-L on a Mac. Its also under the menu as “Image->Adjustments->Levels”. If you want to do an adjustment level you can as well.

This tool has several things we need to pay attention to. First, at the top of the dialog is a drop-down selector that defaults to RGB. This means that any changes you make will affect all three color channels, Red, Green and Blue the same. This is good if you just want to correct exposure but it won’t remove any color cast.download full film iBoy

This tool can also work on each channel individually. You can select the Red channel, make adjustments, select the Green channel, make adjustments, then work on the Blue channel. This is what we are going to do.

The next important part of this dialog is the Histogram. It represents the range of tones in the image. The far left edge of the block represents 0, or the darkest possible values, the right side represents 255 or the brightest values.

An well exposed photo of an average scene will have a nice “bell” shaped curve, with the top of the curve at the center and the curves tapering off to the bottom at the left and right edges. If you see the bulk of the curve on the left side of center, its probably underexposed (which may be what you intended or a natural dark background). Generally if its to the right its over exposed.

Below the histogram curve are three small triangle / drop shaped icons. One is black on the left, one is gray in the middle and one is white on the right. These droppers can be grabbed by your mouse and moved to adjust the tones.

The quick color correct method involves going to the Red channel and sliding the white point dropper left until it meets the point where the histogram bottoms out on the left side. If the histogram touches the left side or spikes back up, leave this channel alone and visit the green channel using the select at the top. You can also use the short cuts of CTRL-1 (red), CTRL-2 (green), CTRL-3 (blue) and CTRL-~ (RGB combined) to quickly move between the channels.

Repeat the process on the green channel, moving the white point left. Then take care of the blue channel. If the photo has a color shift, then you should notice the shape of the histograms will be different for each channel. When its done, the three channel histograms should be similar.

If your photo has specular highlights (like reflections on chrome) there will be a spike at the left/white edge. Since these points are blown out (and are supposed to be), its okay to move the white point past them to the real point where the tones bottom out since they will still be blown out.

After you visit each color channel adjusting the white points, then go back to the combined RGB channel (CTRL-~ or Apple-~) and bring the black point in until it touches the bottom out point on the left side. This will add contrast to the photo (if that’s desired).

Since you’re not looking at the actual colors on the screen, but the values of the histogram, you get reasonably accurate colors even on an un-calibrated monitor. If there are no whites, this won’t work.

If you have Photoshop CS3 or later, an additional tool you can use with levels is to hold down the ALT key while sliding the droppers. The photo will turn black and as soon as you seen any spots of color (it will be red color while on the red channel, green on the green channel etc.) then adjust it to the point where you’re on the border of color spots and no color spots. This will be a little more accurate than just using the histogram.

Click “Okay” when done and voila!

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Fix-it Friday — i Heart Faces Feature

The source image....
The source image....

This week I had the honor to be the photo judge for a photo blog called I Heart Faces (http://iheartfaces.blogspot.com/), a blog dedicated to portraiture.  This week’s theme was “Wonder” and after sifting through nearly 400 photos in both an adult and kid’s category, the top ten in each category was selected and the winners will be announced on Saturday.

But the blog has a cool feature called “Fix it Friday” where the blog owners post a photo and challenge members to fix it.  This week I decided that the “Fix It” would make a good post, so here goes.

Step 1. Convert to sRGB
The photographer was working in Adobe RGB color space.  Most professionals prefer to work in Adobe RGB since it supports a wider range of colors (gamut), but if your primarily working on photos for the web or your likely to print your photos at a local mini lab and don’t want to mess with color Management, an sRGB workflow (sRGB is the color space for web browsers) while not allowing the maximum colors, keeps things simple and easy.  Think of it in music terms.  Adobe RGB is like Vinyl LP albums and sRGB is like CD’s.  The keen ear, not offended by the scratches and hiss of an LP will find a fuller sound from the LP’s and the CD’s are clipped a little.  But most people prefer to not have the scratches and hiss in favor of the clean sound.

My photoshop setup detected the Adobe RGB file and gave me the option to convert it when I loaded it.  If I left it Adobe RGB and you looked at it in your browser the colors would look muted.  Since this is heading to the web, sRGB conversion was a no-brainer.

Step 2. Crop to 8×10
You can see in the original, that the photo is centered horizontally, and there is a little space above the subject’s head.  Not caring for the empty or negative space on either side of the subject,  I decided that a vertical crop was in order.  I couldn’t reasonably get the photo to a rule of thirds crop and keep it horizontal and I’m not sure I would have liked it anyway since it would have just shifted the negative space from one side to the other.  I also like to crop to print sizes, 4×6, 5×7 or 8×10 since I have to assume at some point I will want to print the photo.  For this one, an 8×10 crop let me crop the photo fairly tightly.  This put the subjects eyes on a rule-of-thirds line.

Step 3. Blemish Removal
Using the Rubber Stamp or Clone tool, I cleaned up a couple of blemishes and cleaned up some other skin coloration issues.

Step 4. Bright Eyes – Dodged whites, overlay layer – iris lightening 50%
Next, I attacked the dark eyes.  Using the Dodge tool (12% midtones, soft brush a little larger than the area to lighten) I lightened the whites a bit.  Then it was time to tackle the irises. To solve this, I add a new layer above the background, set the blend mode to “Overlay” and check the “Fill with 50% gray” check box.  Then pick a paint brush a little smaller than the iris and with the color white, paint on the overlay layer around the iris’s making sure to stay away from the outer and inner edges of the iris.  This will typically be too bright and sometimes can have an odd color shift.  So I typically set the overlay layer to 50% opacity to not go overboard with the eyes.  You can adjust to taste.

Step 5. Flatten
Then flatten the image.  I find that the overlay layer gets in the way for future actions.

Basic Corrections Added
Basic Corrections Added

Step 6. Equalized (3 channel white balance)
Looking at the Levels tool, the histogram shows that the tones don’t make it to black, nor do they make it to white.  An easy fix, called equalization stretches the tones to range from black to white giving the image a little more contrast.  But in this case, I took a peak at the histogram for each color channel, Red, Green and Blue (you can pick the color channel from a drop down on the layers tool (CTRL-L or Apple-L) or you can use the short cuts CTRL-1 for the Red channel, CTRL-2 for the Green and CTRL-3 for the Blue channel. CTRL-~ gets you back to the combined RGB view.

Well the Red and Green channels needed more stretching than the Blue channel, so using the White point dropper I visited each channel, dragging the dropper from the right side of the histogram box until it touched where the histogram bottomed out on the light side.  This is a very quick color correcting white balance method, presuming there are whites in the photo!  I then went back to the combined channel view and slid the black point dropper in until it met the histogram.  This did wonders for the color.

Now I have a good photo, suitable for printing or uploading to the web.  But lets take it further and see what we can make out of it.

The Result
The Result

Step 7. Screen layer 50%
I was in a particularly high-key mood today, so I decided to lighten the image.  After playing with some contrast curves and not liking what I saw, I felt it was time to try this tried and true method.  Duplicate your background layer and set the blend mode on the new layer to Screen.  This is like over exposing the photo by a full stop and it doesn’t blow out highlights.   In this case, it was still a bit too much.  I used the opacity to adjust to taste, and as it worked out 50% made me happy.

Step 8. Alabaster Portrait Action from Action Central.
Next I tried a couple of canned actions that I have. First up was Urban acid, so working on a duplicate copy of the image, the Urban acid script ran and the results were pretty good, but I still wasn’t feeling it.  I went to another script I have called “Alabaster Portrait” that I got from Action Central (http://www.atncentral.com).  And after running that script, I was very happy with my results.

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Runtime : 117
Genre : Horror, Thriller.

Movie ‘Split’ was released in November 15, 2016 in genre Horror. M. Night Shyamalan was directed this movie and starring by James McAvoy. This movie tell story about Though Kevin has evidenced 23 personalities to his trusted psychiatrist, Dr. Fletcher, there remains one still submerged who is set to materialize and dominate all the others. Compelled to abduct three teenage girls led by the willful, observant Casey, Kevin reaches a war for survival among all of those contained within him — as well as everyone around him — as the walls between his compartments shatter apart.

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Photoshop Tutorial – Simple Textures Making a Vintage Photo

I’ve been wanting to take some of my photos that I’ve photoshoped for effects purposes and detail for you the steps involved with screen shots. I’m a professional software trainer. This shouldn’t be hard.

The starting point for our vintage photo

But it is. A lot of the steps in getting from the RAW photo to Finished art involves a lot of experimentation. Given a history tool in Photoshop and the ability to capture screen shots you would think it would be easy, but it is near impossible to do. I applaud those who have done Photoshop tutorials online.

I don’t like to be denied, so here we go with a simple tutorial using a texture layer to make a vintage photo.

The first thing to do is to find the photo you want to work with and get it loaded into Photoshop*.  I started with this photo of a goose.
Next  you need are some textures. If your not doing this for commercial purposes, I highly recommend using “Textures for Layers”.  Its a Flickr group that provides a great stock of textures just for this purpose.  The texture in use is  ©Jerry Jones

For some effects you will use multiple textures.  The basic principle is that you will use your photo as a base layer and add a texture layer on top.  Then using various layer compositing techniques you can vary the opacity and blend modes to get just the effects you want.  So follow these simple instructions.

Step 1.  Load your photo.

Step 2. Load your texture.

Step 3. Using the Move tool,  “Drag and Drop” your texture onto your photo.  Your texture will likely not be the  same size or shape as your photo.  I find the “Quick Transform Tool” an easy fix.  Drag the texture layer to the top-left corner of your image, then use CTRL-T (or Apple-T) to enable “Quick Transform”.  Then drag the bottom right handle to the bottom right of your photo.  The texture will resize to fit your base image.  Click the Check mark at the top to accept the changes.

Step 4.  On the layers pallet, select a blend mode using the unlabeled drop down that defaults to “Normal”.  You need to try different blend modes to see the different effects.  For this one, I chose “Overlay”.  Multiply and Screen are other good ones to try as well.  You might want to also adjust the Opacity of the texture layer for different intensities.

At this point you should have a pretty good idea what your photo will look like.  You might need to use the eraser tool to erase holes in the texture if some of the texture is placed poorly, like right on the subjects face.

Step 5.  Since I am making a vintage photo and I have a texture that works well for that.  The overly saturated, colorful goose is out of place.  So I quickly made it B&W by first using the “Move (arrow)” tool and clicking on the “Background” layer in the layer palette then bringing up the Hue-Saturation-Lightness tool (CTRL-U/Apple-U) and slid the Saturation slider all the way to the right (-100%) to desaturate the base image.

Step 6.  Save your work.  I like to keep my original with layers as a Photoshop PSD file.  This is a lossless format that preserves all the detail and all the layers, masks, channels, etc.  Then I resize it for web viewing and Save As a JPEG.   I generally do not “Save for Web or Devices” for photos since others like looking at the EXIF data and if I embedd caption information, services like Flickr will take advantage of that.  “Save for Web or Devices” strips all that to keep the image small.  Now if I were building a web site, all the icons and bling would be stripped down for performance.

And your final results:

So go forth an play.Watch movie online The Transporter Refueled (2015)

* You don’t need Photoshop to create these types of photos.  The GIMP, Photoshop Elements, Corel Paint Shop Pro and other tools should be able to perform these steps.