Monday, December 29, 2014

Posted by Unknown |
How to Use Unsharp Masking

Many people mistakenly believe that unsharp masking (USM) is a new technique specific to digital imaging, which is not the case--it is an image manipulation technique that has been around since the 1930s. It is a way to increase the sharpness of an image, which confuses some people because of its name. The original film technique required the use of a slightly out-of-focus positive image as a mask. When the negative and positive were registered together and exposed to a new negative, they actually caused an illusion of increased sharpness. This process has been refined in digital photography and uses a Gaussian blur as the unsharp mask. Read on to learn how to use this process with GIMP (although the process is really the same with most imaging editing programs).

Instructions

    1
    Open Image

    Start GIMP and open your image. Try and find an image that needs to be a little sharper. Unsharp masking is different than sharpening, which is another algorithm that simply adjusts the edges of all pixels. With unsharp masking you can control the amount of sharpening more without adding artifacts through the entire image. Click on FILTERS/ENHANCE to find and open the USM toolbox.

    2
    Adjust Threshold

    Once the toolbox is open, remember to enlarge the preview screen to work on your image. The first thing I do is to adjust the THRESHOLD. This is counter-intuitive to the way the toolbox is laid out since it is the last adjustment slider in the toolbox. Threshold controls the minimum highlight value that will be sharpened. The threshold setting can be used to sharpen hard edges without impacting softer edges. Higher threshold values limit areas of low contrast and give you more control over the other settings.

    3
    Adjust Amount

    Adjust the AMOUNT slider after adjusting the threshold. This controls how much darker the edge will become after the mask is applied. It really controls how much CONTRAST each edge pixel will have. This single control is similar to the SHARPENING filter in GIMP.

    4
    Adjust Radius

    Adjust the RADIUS. You need to be careful when choosing a RADIUS since high values will impact the quality of the image more then any other control. This is why I adjust RADIUS last. Too large a radius adjustment will result in artifacts and may cause halos in the highlights.

    5
    Final Image

    Click OK when you are all done and the final image will be rendered. First, the GAUSSIAN CURVE will be created and applied, the new values will be interpolated and then the image rendered in the same screen. Remember to save your final image under a new name. The difference should be slight, not dramatic. Notice the dog stands out more, the trees are sharper and you can now make out the sign in this image. Using unsharp masking requires patience and experimentation, but it can dramatically add value to an image.


How to Use Unsharp Masking

Many people mistakenly believe that unsharp masking (USM) is a new technique specific to digital imaging, which is not the case--it is an image manipulation technique that has been around since the 1930s. It is a way to increase the sharpness of an image, which confuses some people because of its name. The original film technique required the use of a slightly out-of-focus positive image as a mask. When the negative and positive were registered together and exposed to a new negative, they actually caused an illusion of increased sharpness. This process has been refined in digital photography and uses a Gaussian blur as the unsharp mask. Read on to learn how to use this process with GIMP (although the process is really the same with most imaging editing programs).

Instructions

    1
    Open Image

    Start GIMP and open your image. Try and find an image that needs to be a little sharper. Unsharp masking is different than sharpening, which is another algorithm that simply adjusts the edges of all pixels. With unsharp masking you can control the amount of sharpening more without adding artifacts through the entire image. Click on FILTERS/ENHANCE to find and open the USM toolbox.

    2
    Adjust Threshold

    Once the toolbox is open, remember to enlarge the preview screen to work on your image. The first thing I do is to adjust the THRESHOLD. This is counter-intuitive to the way the toolbox is laid out since it is the last adjustment slider in the toolbox. Threshold controls the minimum highlight value that will be sharpened. The threshold setting can be used to sharpen hard edges without impacting softer edges. Higher threshold values limit areas of low contrast and give you more control over the other settings.

    3
    Adjust Amount

    Adjust the AMOUNT slider after adjusting the threshold. This controls how much darker the edge will become after the mask is applied. It really controls how much CONTRAST each edge pixel will have. This single control is similar to the SHARPENING filter in GIMP.

    4
    Adjust Radius

    Adjust the RADIUS. You need to be careful when choosing a RADIUS since high values will impact the quality of the image more then any other control. This is why I adjust RADIUS last. Too large a radius adjustment will result in artifacts and may cause halos in the highlights.

    5
    Final Image

    Click OK when you are all done and the final image will be rendered. First, the GAUSSIAN CURVE will be created and applied, the new values will be interpolated and then the image rendered in the same screen. Remember to save your final image under a new name.

    Enhance your photography skill,The Top Secret Photography Techniques

    . The difference should be slight, not dramatic. Notice the dog stands out more, the trees are sharper and you can now make out the sign in this image. Using unsharp masking requires patience and experimentation, but it can dramatically add value to an image.



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Posted by Unknown |
How to Do Butterfly Lighting in Film

Some lighting effects are so appealing; they deserve a name of their own. Such is the case with butterfly lighting, an effect made popular by Paramount Studios in the 1950s. Since this lighting creates a small butterfly shadow under the nose and obscures the nostrils, many starlets requested it during their photo shoots. When youre shooting with film as opposed to digital, you can easily adapt your camera to shoot a model under butterfly lighting.

Instructions

    1

    Begin by positioning your studio lights. Two separate studio lights create the butterfly effect under the nose; the key light is the main light and will be the most intense. Position your key light high and directly facing your model. The key light will shine downwards on the models face from a 45-degree angle so step to the side and view the angle. Adjust the height of the light pole, if necessary.

    2

    Place your second light, the fill light, directly below the key light. The fill light softens the effect of the shadow under the nose so depending upon how much intensity the fill light emits you can adjust the butterfly effect. The fill light is in a vertical line with the key light but it is only as high as the models nose.

    3

    Position your camera to the side of the lights, facing your model. The model will face the lights directly.

    4

    Adjust your aperture and shutter settings to allow a slightly underexposed shot if you want to emulate the butterfly effect used by Paramount Studios. The models eyes will be slightly dark and shadows may appear under them but instead of being unflattering, the shadows hover around the outside edges, creating a sultry look.

    5

    Try using black and white film for a close facsimile of a starlet photo. When the butterfly lighting effect became popular, only black and white film was in use. Of course, you can achieve a butterfly effect with color film as well.


How to Do Butterfly Lighting in Film

Some lighting effects are so appealing; they deserve a name of their own. Such is the case with butterfly lighting, an effect made popular by Paramount Studios in the 1950s. Since this lighting creates a small butterfly shadow under the nose and obscures the nostrils, many starlets requested it during their photo shoots. When youre shooting with film as opposed to digital, you can easily adapt your camera to shoot a model under butterfly lighting.

Instructions

    1

    Begin by positioning your studio lights. Two separate studio lights create the butterfly effect under the nose; the key light is the main light and will be the most intense. Position your key light high and directly facing your model. The key light will shine downwards on the models face from a 45-degree angle so step to the side and view the angle. Adjust the height of the light pole, if necessary.

    2

    Place your second light, the fill light, directly below the key light. The fill light softens the effect of the shadow under the nose so depending upon how much intensity the fill light emits you can adjust the butterfly effect. The fill light is in a vertical line with the key light but it is only as high as the models nose.

    3

    Position your camera to the side of the lights, facing your model. The model will face the lights directly.

    4

    Adjust your aperture and shutter settings to allow a slightly underexposed shot if you want to emulate the butterfly effect used by Paramount Studios. The models eyes will be slightly dark and shadows may appear under them but instead of being unflattering, the shadows hover around the outside edges, creating a sultry look.

    5

    Try using black and white film for a close facsimile of a starlet photo. When the butterfly lighting effect became popular, only black and white film was in use.

    Enhance your photography skill,The Top Secret Photography Techniques

    . Of course, you can achieve a butterfly effect with color film as well.



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Posted by Unknown |

Amateur and professional photographers can produce quality shots of buildings with the help of simple techniques. Businesses hire photographers to highlight structures for various reasons, including real estate transactions, but any photographer should consider working with the subject to gain experience. The results may produce photos for inclusion in portfolios or decorative pieces for display. Remember to get the property owner's permission when taking photographs.

Space

    Try to make use of the area around the building to offer some perspective. It will allow the viewer to see aspects such as the neighborhood setup, surrounding city or pathways leading to the building. Inside, staircases provide an interesting way to present spaces through angles as well as details. Taking photos from a staircase also shows an overhead angle.

Lenses

    Telephoto lenses can enhance any building photo, so take the time to incorporate a few shots with this type of lens. Patterns in the buildings themselves appear clear by the layout of windows or even the lines in the building structure. Choosing a wide-angle lens makes the front of structures appear larger then the back for a visual effect.

Shadows

    Shadows give an interesting look no matter what time of day the photo is taken. Use of this technique can direct the viewer's eyes to particular areas. For example, see if there are other parts of the building that reflect onto another such as shadows on a porch. Moods can also be set with shadows. Avoid photographing midday when using this technique to avoid a harsh view.

Avoid Distortion

    Choose the right location to avoid distortion of the building's lines and angles. Less distortion occurs when taking a photo from the building's front. Positions at the corner add extra information on details. Tilting the camera upward is a common mistake that contributes to the problem. For tall buildings, take the photo from another building of similar height to reduce overall distortion from any angle.

Night

    Photography at night presents a different view of the location. Sometimes enough light will be available in the area without the use of flash. Neon signs are an interesting subject to focus on among a dark building exterior. A few office lights may even add character to the building.

Additional Tips

    Remember to use a tripod to keep the entire building in focus. If possible, photograph your subject in the early morning or later afternoon for the best natural lighting. Stand, kneel or get on a ladder for height to change various effects on the building.


Amateur and professional photographers can produce quality shots of buildings with the help of simple techniques. Businesses hire photographers to highlight structures for various reasons, including real estate transactions, but any photographer should consider working with the subject to gain experience. The results may produce photos for inclusion in portfolios or decorative pieces for display. Remember to get the property owner's permission when taking photographs.

Space

    Try to make use of the area around the building to offer some perspective. It will allow the viewer to see aspects such as the neighborhood setup, surrounding city or pathways leading to the building. Inside, staircases provide an interesting way to present spaces through angles as well as details. Taking photos from a staircase also shows an overhead angle.

Lenses

    Telephoto lenses can enhance any building photo, so take the time to incorporate a few shots with this type of lens. Patterns in the buildings themselves appear clear by the layout of windows or even the lines in the building structure. Choosing a wide-angle lens makes the front of structures appear larger then the back for a visual effect.

Shadows

    Shadows give an interesting look no matter what time of day the photo is taken. Use of this technique can direct the viewer's eyes to particular areas. For example, see if there are other parts of the building that reflect onto another such as shadows on a porch. Moods can also be set with shadows. Avoid photographing midday when using this technique to avoid a harsh view.

Avoid Distortion

    Choose the right location to avoid distortion of the building's lines and angles. Less distortion occurs when taking a photo from the building's front. Positions at the corner add extra information on details. Tilting the camera upward is a common mistake that contributes to the problem. For tall buildings, take the photo from another building of similar height to reduce overall distortion from any angle.

Night

    Photography at night presents a different view of the location. Sometimes enough light will be available in the area without the use of flash. Neon signs are an interesting subject to focus on among a dark building exterior. A few office lights may even add character to the building.

Additional Tips

    Remember to use a tripod to keep the entire building in focus. If possible, photograph your subject in the early morning or later afternoon for the best natural lighting. Stand, kneel or get on a ladder for height to change various effects on the building.



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How to Get Started as an Architecture Photographer

The only real way to become an architecture photographer is just to get out there and take photos. That rule is the backbone of any photographer's practice. There are, however, a few ways to establish a practice in either art or commercial architecture photography.

Instructions

    1

    Go to school for photo media or art photography. Alternatively, take a night or weekend course from the local university or college.. Classes will help a budding architecture photographer gain their ground in the theory behind this style of photography and the equipment necessary to pursue it.

    2

    Take classes at a technical photographic school. These institutes, unlike a fine art college, will offer classes geared specifically to architecture photography. Choose a school where teachers are professionals in their field, a future architecture photographer should be learning off of an established architecture photographer.

    3

    Visit the library and search for book that fall under either architecture photography. Note the photographer's name that appear consistently in these books. Observe the difference in angles and lighting and how that informs the perspective that photographer is trying to portray.

    4

    Assist an an established architecture photographer. Assisting a photographer entails handling their equipment, carrying lights, cameras, lenses, film and various other necessities. It also means a chance to learn from their technique and make contacts with architects, magazines and private clients.

    5

    Interview other photographers who are working in your chosen field. Pitch a story to an architecture magazine or website and offer to provide some editorial on the photographer. This is a chance to ask this photographer any question you like and you can offer them exposure in return.

    6

    Practice constantly. Architecture is all around, from a grand palace to a dilapidated shack in the middle of nowhere.

    7

    Set a goal, whether that means taking 50 photographs each day or finding a new place to shoot each week. Use the best photos to fill a portfolio book.

    8

    Show your portfolio book at every chance possible. Make connections within the realm of architecture photography -- photographers, photo editors, magazines and newspapers, professors -- and ask for their critiques on new photos.

    9

    Take a DIY approach and start a blog. Publish images on the blog, include a reflection of that day of shooting if you like, and build a community around the site. This makes your portfolio accessible to anyone, anywhere, any time.


How to Get Started as an Architecture Photographer

The only real way to become an architecture photographer is just to get out there and take photos. That rule is the backbone of any photographer's practice. There are, however, a few ways to establish a practice in either art or commercial architecture photography.

Instructions

    1

    Go to school for photo media or art photography. Alternatively, take a night or weekend course from the local university or college.. Classes will help a budding architecture photographer gain their ground in the theory behind this style of photography and the equipment necessary to pursue it.

    2

    Take classes at a technical photographic school. These institutes, unlike a fine art college, will offer classes geared specifically to architecture photography. Choose a school where teachers are professionals in their field, a future architecture photographer should be learning off of an established architecture photographer.

    3

    Visit the library and search for book that fall under either architecture photography. Note the photographer's name that appear consistently in these books. Observe the difference in angles and lighting and how that informs the perspective that photographer is trying to portray.

    4

    Assist an an established architecture photographer. Assisting a photographer entails handling their equipment, carrying lights, cameras, lenses, film and various other necessities. It also means a chance to learn from their technique and make contacts with architects, magazines and private clients.

    5

    Interview other photographers who are working in your chosen field. Pitch a story to an architecture magazine or website and offer to provide some editorial on the photographer. This is a chance to ask this photographer any question you like and you can offer them exposure in return.

    6

    Practice constantly. Architecture is all around, from a grand palace to a dilapidated shack in the middle of nowhere.

    7

    Set a goal, whether that means taking 50 photographs each day or finding a new place to shoot each week. Use the best photos to fill a portfolio book.

    8

    Show your portfolio book at every chance possible. Make connections within the realm of architecture photography -- photographers, photo editors, magazines and newspapers, professors -- and ask for their critiques on new photos.

    9

    Take a DIY approach and start a blog. Publish images on the blog, include a reflection of that day of shooting if you like, and build a community around the site. This makes your portfolio accessible to anyone, anywhere, any time.



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