Digital Photography

Photography?s Digital Possibilities – Retouching

Tutorial on GIMP Cloning Part One. See WWW.FOTOLINQ.COM for more FREE GIMP and other photography and videography videos!
Video Rating: 5 / 5

 

Retouching or touching up a photo can easily be done in modern image editing software. One of the popular programs is Adobe’s Photoshop, which this tutorial is based on. Other programs have similar tools and can be used in the same way. In fields such as photojournalism and documentary photography, retouching and image alterations should be used very moderately.

Why retouching?

Retouching is typically used to remove spots and blemishes in a photo, resulting from dust and dirt on the lens and sensor. It can also be used to remove unwanted details in your photo such as for instance those small pieces of litter that you didn’t notice when you took that nice landscape picture or the skin imperfections on the cute photo model you’ve just made a stunning portrait of.

Using the ‘clone stamp’ and ‘healing brush’ tools is straight forward. With the ‘clone stamp’ tool you first select a reference point from where you want the image pixels copied. You then proceed to ‘paint’ over your unwanted spots like you were using the ‘paintbrush’. It is best used on large, uniform areas of your image where there’s no significant difference in colour or texture. If that’s not the case, the ‘healing brush’ usually provides a better option. It’s used in the same way, but takes into account the colour and texture around the spots you’re trying to remove. Most of the time it will remove the spots with a single ‘stroke of the paintbrush’, leaving no trace of rework.

Before submitting my photos to my stock agency, I always check the photos for unwanted spots. No agency or photo buyer likes to receive a ‘dirty’ submission so it’s important to be 100% sure that you get all of them before handing over your photo to a client. I have developed a little method that makes it easier for me to spot the spots and remove them. It’s simple, just create an adjustment layer (press F1 for help if you’re not sure how to do it), select ‘curves’ and make the contrast very high, especially in the most spot-prone areas such as the sky and blank surface. This will make every spot stand out clearly, easy to spot. Now click on the original background layer to make sure that’s where you are working and proceed with the ‘clone stamp’ and ‘healing brush’ tools to remove them one by one. When you’re finished, delete the adjustment layer again. Now you’re sure you got’em all!

Another couple of great tools for retouching is the ‘burn tool’ and the ‘dodge tool’. The ‘burn tool’ is used to make bright areas darker and the ‘dodge tool’ for making dark areas brighter. Set the % ratio to something like 20% and the brush size to whatever is appropriate for your specific purpose. The neat thing is you can select between working on shadows, midtones or highlights only. It’s a common problem that the sky is overexposed, but quickly swiping the ‘burn tool’ over the white sky (having selected to work on highlights) makes it light grey, as if it was overcast. For portraits, the ‘dodge tool’ is excellent for making teethes in the smiling mouth more white. Since the tools preserves any texture, it looks more natural than actually starting to paint things grey or white.

The

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Photography?s Digital Possibilities – Retouching

Unboxing the DSC-TX10 Cybershot from Sony. This video takes you through all the material and components included in the box.
Video Rating: 4 / 5

 

Retouching or touching up a photo can easily be done in modern image editing software. One of the popular programs is Adobe’s Photoshop, which this tutorial is based on. Other programs have similar tools and can be used in the same way. In fields such as photojournalism and documentary photography, retouching and image alterations should be used very moderately.

Why retouching?

Retouching is typically used to remove spots and blemishes in a photo, resulting from dust and dirt on the lens and sensor. It can also be used to remove unwanted details in your photo such as for instance those small pieces of litter that you didn’t notice when you took that nice landscape picture or the skin imperfections on the cute photo model you’ve just made a stunning portrait of.

Using the ‘clone stamp’ and ‘healing brush’ tools is straight forward. With the ‘clone stamp’ tool you first select a reference point from where you want the image pixels copied. You then proceed to ‘paint’ over your unwanted spots like you were using the ‘paintbrush’. It is best used on large, uniform areas of your image where there’s no significant difference in colour or texture. If that’s not the case, the ‘healing brush’ usually provides a better option. It’s used in the same way, but takes into account the colour and texture around the spots you’re trying to remove. Most of the time it will remove the spots with a single ‘stroke of the paintbrush’, leaving no trace of rework.

Before submitting my photos to my stock agency, I always check the photos for unwanted spots. No agency or photo buyer likes to receive a ‘dirty’ submission so it’s important to be 100% sure that you get all of them before handing over your photo to a client. I have developed a little method that makes it easier for me to spot the spots and remove them. It’s simple, just create an adjustment layer (press F1 for help if you’re not sure how to do it), select ‘curves’ and make the contrast very high, especially in the most spot-prone areas such as the sky and blank surface. This will make every spot stand out clearly, easy to spot. Now click on the original background layer to make sure that’s where you are working and proceed with the ‘clone stamp’ and ‘healing brush’ tools to remove them one by one. When you’re finished, delete the adjustment layer again. Now you’re sure you got’em all!

Another couple of great tools for retouching is the ‘burn tool’ and the ‘dodge tool’. The ‘burn tool’ is used to make bright areas darker and the ‘dodge tool’ for making dark areas brighter. Set the % ratio to something like 20% and the brush size to whatever is appropriate for your specific purpose. The neat thing is you can select between working on shadows, midtones or highlights only. It’s a common problem that the sky is overexposed, but quickly swiping the ‘burn tool’ over the white sky (having selected to work on highlights) makes it light grey, as if it was overcast. For portraits, the ‘dodge tool’ is excellent for making teethes in the smiling mouth more white. Since the tools preserves any texture, it looks more natural than actually starting to paint things grey or white.

The

Enhance Your Purchase By Computer Buying Guide

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Software is one of the last surreptitious of Computer Buying Guide and In fact new computer systems include quite a few programs and value of the software is quite the best. It also happen in some cases that the software included in your computer is a trial version or limited edition and this kind of programs do not have all the procedures of the full program or it may be run for certain time period till their end.

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Nature Photography: Art or Technology?

This is a quick video to show you how I organize and rename my personal Digital photos. I have a different system for scanned in photos and for photo shoots so I’ll post up videos on that later on. Copyright © 2010 Digital Minds — All rights reserved Website: www.JeremyMartel.com http DeviantArt: digitalmindsmedia.deviantart.com LinkedIn ca.linkedin.com WeddingWire: www.weddingwire.com

Nature photography as an art form has been around for a long time, but recently it has found respect on the walls of up-market galleries. This is a big change from 20 years ago, when nature photography was only considered worthy of second-rate postcards and calendars.

Over the years, postcards and calendars began to improve in quality as nature photographers with real talent entered the industry. High quality posters of whales, wolves, elephants and spectacular landscapes from around the world were suddenly worthy of framing. Finally nature photography galleries began to appear and, more importantly, turn a profit.

When I opened my gallery in 1993, many people still felt that you could not make a living selling photography; that people would only buy paintings to hang on their walls. These days, new galleries are opening everywhere; some good, some not so good, and a few that have really hit the big time.

All this activity in the world of nature photography has inspired new generations of photographers to look at nature photography as a hobby or possible profession. These new nature photographers grew up in a very different world than the one I come from. Technology that was unimagined back then is now commonplace, and new photographers have more power in their hands than ever before. But what implications does all this technology have for nature photography?

Nature photographers must now decide how much they will allow their photography to be influenced by technology. In earlier days, good nature photography required a very simple approach; find a great subject, in the best possible light, and use your skill with a camera to capture what you saw. Today it is quite a different story. A nature photographer can (if they choose) find a decent subject, photograph it in whatever lighting conditions they happen to find, then go home and completely alter the colours, the contrast, and even the detail of the picture. The result can be an image that owes more to the marvels of technology than to the wonders of nature.

Each to his own. It is not for me to judge the creative decisions of another photographer. But the question that is in the back of your mind right now deserves to be asked; is this nature photography?

Every photographer is entitled to pursue their craft any way they choose. Of course skills with computer software are just as creative as traditional nature photography skills. However, the person who views a photograph deserves to know what they are looking at, especially if that person is a customer prepared to part with their hard-earned money.

I know many photographers get quite defensive on this subject. Camera clubs around the world continue to wrestle with the issue of judging natural photos alongside manipulated photos. Some clubs have tried to divide competition into separate categories, only to find people sneaking their digitally altered photos into the unaltered category for equal recognition. Understandably, ‘software photographers’ want their talents to be recognised on the same level as the ‘in-camera photographers’. And so they should, but not in a way that ignores the difference between the two disciplines.