Try to avoid bright sunny days, which tend to increase the contrast and brightness of the colors. Instead, go for partial or full shade. Shooting on overcast or rainy days can emphasize the earth tones and the depth of color of fall trees and leaves. Raindrops on fresh fallen leaves deepen the colors and create great patterns of light.
2. See Close and Far
While you may be spellbound by a mountain covered in colored leaves, your camera may not capture the full detail. Try to get some detail of individual leaves or trees in the foreground.
3. Compose for Impact
Foliage is usually an emphasis on color, but you can also capture shapes, lines, and patterns through close-ups of leaves and other items.
To keep the image dynamic, consider the “rule of thirds,” where your object of interest is not in the center, but placed at an intersection of imaginary vertical and horizontal lines which split the viewfinder into thirds in both directions.
4. Control the Focus
A wide open f-stop (low number, e.g. f/2) will sharpen the item in focus but will blur much of the background. This is good for close-up shots of leaves and people. Point-and-shoot camera users can choose the “portrait” setting to achieve this effect. A small f-stop (large number, e.g. f/11) will put more of the background in focus, but will also lower the shutter speed and be more susceptible to blur from camera shake or object movement. Often the “landscape” setting on a point-and-shoot will set these preferences.
When you are starting out learning to edit in Photoshop there are a lot of tools from which to choose. The Curves Adjustment is one of the more advanced tools, so it often overwhelms new users. However it is such a powerful tool that it is well worth investing some time learning to use it. In this article I’ll explain what you can understand about your image from the Curves dialog and how to use curves to edit your photos.
Have you seen the writing on images? You know, the little pictures or words that show the photographer’s name? Those are called watermarks. Photographers often watermark their images so that they are properly credited for their work. Here are a few ways to watermark images with Photoshop and Lightroom.
Watermarks using Photoshop
You can create watermarks in Photoshop several different ways. Here are a few of them.
Traditionally, a double exposure is created by simply snapping two shots in one frame on a film camera. Sometimes, you get it right and the outcome is incredible, but lots of times you may not like the effect or even intend to do it. Now, with a few Photoshop techniques, you can create your own unique double exposure that is pretty much guaranteed to turn out exactly as you envisioned it. Basically, you can bring your imagination to life. Here, you’ll learn how to combine two images to create a final high quality piece of art using blend modes:
In the video tutorial, Aaron Nace uses a regular portrait of a woman on a gray background and a picture of some flowers on white to create a great artistic double exposed image. He chose these images because of the high contrast between light and dark. When choosing your images, think tree against a clear sky rather than a cluttered photo of your backyard.
A few years ago I passed through Bolivia, South America’s poorest and, in some ways, least developed country. I spent a few days in Potosí, a small, largely forgotten city whose history had a central role in shaping the modern world. Built at the foot of the Cerro Rico (Rich Hill), the silver mined in Potosí flowed across the continent, through the cities of Cartagena and Havana, and across the ocean to Sevilla and Madrid in Spain, where it powered the rise of European nations as the wealthiest and most developed of the era.
You have likely heard of the Rule of Thirds, in fact it seems as if this is the only rule of composition. To be fair though, the Rule of Thirds is a good go to tool when you are unsure of how to put a scene together compositionally. There are many other techniques that can be used to improve your composition. Techniques like balance, leading lines, symmetry, depth of field, and so on, can all make a big difference to your image.
In many ways a photograph is very similar to a painting. Photographers learned early on that composition is a key component to engage people in an image. Composition literally means to put together, so when you think about composing an image, you need to think about the visual elements that you will put together in your image.
As a photographer, you need to decide when to use certain techniques, and when not to use them. Most compositional techniques are simply guidelines, or frameworks, there are very few hard and fast rules. What they do offer is a starting point for putting an image together. Perhaps you may look at a scene and not know how to capture it. That is a good time to put some of the techniques into action and work the scene from there. They have been tried and tested by visual artists (painters, photographers and moviemakers) around the world for decades. The only constraint is don’t be dogmatic about applying them. Once you understand how to use the rules, you will then know how to break, and break out of them. By doing this, you will take your photographic creativity to a new level and your images will become that much better.
As always, with anything photographic, you need to experiment and practice. Know your equipment, experiment by shooting different scenes under different lighting conditions. Find what works for you and hone that skill. The art of composition is not a particularly technical art, but it can make an amazing difference to your images.
If you’re like most photographers, nothing gets you more excited than a new tip or trick that can help you make your photographs more awe inspiring. The problem is that a lot of these processes can take some time to learn and execute correctly. Pretty quickly you realize that it may take you more than a few tries to master the new technique to become a better photographer.
When I’m teaching my photography classes, the students and I are often neck deep into discussions of the exposure triangle; shutter speed, aperture size and sensor sensitivity (ISO). You can find great discussions and explanations of the triangle here on the dPS. I’d like to dissect the ISO corner of the issue, and give you a simple technique you can use to set the ISO to the best value for the situation. Understanding ISO is one thing but setting it correctly on the fly is another.
An equilateral triangle represents a well-exposed image. If any corner is too long, (slower shutter speed for example) the image would be brighter. If the corner is short, the image would be darker.
First a definition of ISO:
ISO is an acronym for International Organization for Standardization. It is a group that sets all sorts of standards for science and industry, but the meaning of ISO for photographers with digital cameras, is that it places a numerical value on the sensitivity of the camera’s imaging component, the sensor. Often compared to the film sensitivity rating called ASA (originally developed by the American Standards Association).
Masking is one of those techniques that will change the way you use Photoshop. Understanding this technique can help you to jump from being a beginner level Photoshop user, to a more advanced one. In this article, I will explain how masking really works in Photoshop, its few key concepts, and how Masking helps you to perform non-destructive editing.
The skills you need to get started masking in Photoshop are being able to use the brush tool to paint color, understand two colors black and white, and knowledge of how layers work in Photoshop, which I assume you have very sound knowledge on.