By Todd Gallopo | Thursday, June 25, 2015
Never doubt what you’re capable of.
I learned this after I tried my hand at creating images for Tommy Lee’s Never A Dull Moment album packaging in 2002. The concept in my head was inspired by the photography of David Hockney, but the budget for the photography portion of this project was limited.
It’s a problem that many of us designers have to come to terms with now and then: How do we create the images we need when the budget doesn’t allow us to team up with the creative professionals we want to work with?
Do we pull favors? Do we D.I.Y.? I chose the latter. I’m not a photographer, but I believed I could create what I envisioned.
I’ll show you how I did it:
By Jeff Carlson | Thursday, April 9, 2015
My main photo library is stored in Adobe Lightroom, so I often browse and edit selected shots on my iPad using the Lightroom mobile app.
I sync a folder of images that I’ve already imported into Lightroom on the desktop and then, using the iPad, rate and edit photos on the couch instead of in front of my computer.
Until recently, if I wanted to use those photos in another app, I’d have to first share them to the iPad’s built-in photo library and then open them in the other app from there.
Well, some shortcuts are finally working around that diversion. Several apps can now pull images directly from an Adobe Creative Cloud account, bypassing the internal photo library.
Here are three apps that let you spend time being creative—instead of shuffling image files around:
By Starshine Roshell | Sunday, March 22, 2015
Joyce Wells loves to learn. She earned as associate’s degree in her 20s, a bachelor’s degree in her 40s, and a master’s in nursing at age 60.
But there was one thing she didn’t care to learn: digital photography.
“I’ve been interested in photography for 35 years,” says Joyce, a former Cub Scout leader who taught her scouts photography. “But around 2000, I got so disgusted because everything was going digital. I like the darkroom. I like my black and whites. I just thought, this is fake photography.
“I put away my cameras and didn’t pick them up for four or five years.”
It was her grown son who changed her mind:
“He said, ‘Mom, your darkroom is just … inside your camera.’ So I went and got a digital camera.”
Actually, she got two—and a membership to lynda.com. Now she loves her Nikons, uses Photoshop, and takes photography trips with her son and friends from Panama to Nova Scotia.
By Konrad Eek | Friday, March 20, 2015
The rise of digital cameras has spurred a surprising trend: The return to analog and black-and-white photography.
Sure, digital photography gives us amazing power and control, but there’s something irresistible about creating a tangible artifact of captured light that you’ve translated—through chemistry—into a work of art. Also, I’d argue that the luster, finish, and depth of tone of digital black-and-white prints can’t compare to those of gelatin silver prints.
Did you know that many of the tools you see in Photoshop every day are based on traditional darkroom techniques?
My new course Setting Up a Home Darkroom shows you how to create your own darkroom to make old-school-style prints.
In this article, I’ll help you decide what darkroom equipment you need, where to get it, and how to get the most for your money.
By Carolyn E. Wright | Tuesday, March 17, 2015
The verb “license,” according to Merriam-Webster, means “to give official permission to someone . . . to do or use something.” As a noun, license means “an official document, card, etc., that gives . . . permission to do, use, or have something.”
Licensing your photographs may sound tricky, but in fact we “license” other things all the time. Take this, for example:
Kid: Can I borrow the car?
Parent: Where are you going?
Kid: To the park.
Kid: To play tennis with Taylor.
Parent: When will you be back?
Kid: By 5 p.m.
With that “O.K.,” the parent just licensed the car to the kid only to go the park to play tennis with Taylor that day until 5 p.m.
And licensing your photographs to others can be just as simple. Here’s how:
By Seán Duggan | Saturday, March 7, 2015
There are two great ways to give your images a distressed photo feel with Photoshop.
Last week, I showed you how to do it by appropriating the textural damage and deterioration found in actual vintage images.
Now I’ll show you how—if you don’t mind getting your hands dirty, and with a little thought—you can also create your own distressed and damaged textures from scratch. It’s kind of fun!
By Justin Reznick | Sunday, March 1, 2015
Photographers tend to get caught up in the idea of what great light is. It’s very common in landscape photography to talk about the “golden hour,” referring to sunrise, including the hour after, and sunset, including the hour before.
You rarely see landscape photographers embracing dreary skies or rain. But I’m here to tell you that there’s no such thing as bad light.
It comes down to finding the right subject. And for overcast and wet conditions, there are plenty of exciting options for the landscape photographer.
Come with me; I’ll give you some overcast-sky and rain photography tips, and show you some images I’ve captured under canopies of clouds.
By Seán Duggan | Thursday, February 26, 2015
As photographers, we go to great lengths to make our photographs look “perfect.”
But sometimes the presence of obvious imperfections and even traces of physical damage can add intriguing qualities to an image and make it more interesting than a clean, polished version.
I’m going to show you where to find that antique or distressed look—and how to add it to your images for a vintage photo effect.
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