The advanced Photography Guide

FLASH 149

MASTER AND ZOOM FLASH
SLAVE FLASHES
The zoom control of a flash enables you to screen in the head, which you can pull out
A master (or commander) vary the width of the light given off by the to spread the light more widely when you are
unit is the trigger that flash when it fires. The zoom usually adjusts using lenses that are wider than 24mm. You
controls how and when automatically to match the focal length of the can also adjust the zoom manually. Using the
a slave flash fires. The lens and thereby ensure that there is an even zoom at its longest setting produces a narrow
master is usually either spread of light in the photo. The zoom range is beam of light that enables you to illuminate
attached or connected to usually from 24-105mm (full-frame equivalent). one specific part of a scene to a greater extent
the camera, whereas the Some flashes also have a wide-angle adapter than its surroundings.
slave flash is positioned
on its own, away from Coverage too narrow Coverage good Coverage too wide
the camera. A master Lens’s angle of view Lens’s angle of view Lens’s angle of view
flash that has neither an
optical sensor nor built-in
radio triggering can be
temporarily modified
with either an optical
slave flash or a radio
trigger accessory. These
fit onto the master flash’s
hotshoe and tell the slave
flash when to fire.

Wireless Wireless Wireless
flash flash flash

CHANNELS

Both the trigger (regardless of whether ▲ CAMERA FLASH SETTINGS ▲ FLASH CHANNEL SETTINGS
it is optical or radio) and the flash need
to be assigned to the same channel, fired by the master flash or radio for creative effect, using one group of
typically one of four. This ensures that trigger. The advantage of creating flashes as the main light. All the groups
the trigger can connect to the flash multiple groups is that it enables you that you set up, however, still have to
without interference. If two or more to vary the light output of each group share the same channel number.
people are using a wireless flash in the
same area, they should each use a
different channel to prevent one
person’s trigger from accidentally
firing the other person’s flash.

A group consists of two or more
wireless flashes that share the same
exposure setting. You can usually set
up multiple groups, all of which are

150 A P P LY I N G | MULTIPLE FL ASH

USING MULTIPLE FLASHES

Adding a second off-camera flash to your setup useful when you are shooting indoor portraits. The
increases the ways in which you can light your greater the difference in the brightness of the two
subject. When you use two light sources, whether light sources, the higher the resulting contrast in the
flash or studio lighting, one of them is the main or image will be. The simplest way to vary the relative
key light, and the other is the fill light, which is used brightness of two flashes is to alter their power when
to control the amount of contrast. This setup is they are both set to Manual mode.

POSITION THE FLASHES SET THE EXPOSURE SET THE FLASHES TO MANUAL
Set up the two flashes on either Set the camera to Manual, and Select Manual mode on both
side of your subject, an equal distance select a shutter speed. To minimize the flashes. Decide which of the two flashes
away and at head height. For a long influence of ambient light, set the shutter will be your key light and which will be
vertical portrait, angle them so that speed at, or near, the sync speed. Set a the fill light.
the flash heads are vertical. midrange aperture such as f/5.6 or f/8.

SET THE LIGHTING RATIO
Start by setting your key light flash
to 1/2 power and the fill light flash to 1/8,
to provide a lighting ratio of 4:1.

TAKE A TEST SHOT
Review your shot and assess
the exposure. If you need to adjust it,
increase or decrease the flash power
by an equal amount on both flashes.

FLASH 151

1:1 2:1 4:1 LIGHTING RATIOS

LOWER LIGHTING RATIO HIGHER A lighting ratio is the difference
in brightness between two light
VARY THE LIGHTING RATIOS sources. When there is no difference
Take a number of shots, varying the difference in the power of the flashes each and both light sources are the same
time to see what works best. To create more even lighting, increase the power of the brightness, the lighting ratio is 1:1.
fill light flash. To add contrast, reduce the power. This produces even lighting across
your subject’s face. In relation
to f-stops, a 1-stop difference
produces a lighting ratio of 2:1. For
portraits, a 2-stop difference or 4:1
lighting ratio is a good starting point.

THE RESULT CAMERA SETTINGS

A low lighting ratio (2:1), with the flashes set to a similar brightness, has M f/5.6 1/180 ISO
cast soft, fairly even lighting across the subject’s face. More contrast SEC 200
could have been achieved with a higher lighting ratio.

152 A P PLY I N G | GELS

ALTERING FLASH COLOR

Flash light has a neutral color temperature, unlike most using Tungsten will make light from the flash look blue.
artificial lights such as incandescent bulbs, so if you mix The solution is to attach a gel to the flash head, as this
flash with another light source, you cannot set the alters the color of the flash to match the other light
correct White Balance (WB) preset. Using the Flash source. You can buy gels by the sheet, then cut them
preset will make areas of the scene that are not lit by down and tape them to your flash, or add them to
flash look orange if there is artificial lighting, whereas commercial gel holders that attach to the flash.

SET THE WHITE BALANCE FIT A FLASH GEL SELECT APERTURE PRIORITY
Select the WB preset for the Select and attach a gel to the flash Set the aperture to create the
ambient lighting or set its Kelvin value head that will make the color temperature depth of field that you want. Attaching a
(see p.45). For internal lights, this is often of the flash match the WB of the ambient gel reduces the range of the flash slightly,
provided with a light’s packaging or can light. Here, a blue gel was used to match so increase the ISO by one or two stops,
be found on the manufacturer’s website. the ambient light. particularly if using a small aperture.

SHOOT AND REVIEW ADJUST THE FLASH EXPOSURE
Take a test shot and check it to make sure that Check the photo to make sure that the
the color balance is neutral across the entire image. exposure is all right, as using a gel can cause a slight
If it is not, add a second gel of a lower strength to underexposure. If this is the case, increase the flash
the one you have already attached, or change gels. exposure, use a larger aperture, or increase the ISO.

FLASH 153

GELS FOR ARTIFICIAL LIGHTING

The most common use for gels is to match flash light to ▲ WITHOUT ORANGE GEL ▲ WITH ORANGE GEL
either tungsten or fluorescent lighting. To match tungsten
lighting, which is warm, you should attach a Full CT
Orange (204) gel to the flash. Fluorescent lighting has a
slightly green tint, so add a Half Plus Green (245) gel to the
flash head. You can buy gels in strengths of a quarter, a
half, and full, which enables you to vary how much you
alter the flash light. You can also mix and match different
types of gels to suit more unusual types of lighting.
Combining different gels of varying strengths can reduce
the need for color correction in postproduction.

THE RESULT CAMERA SETTINGS

The color balance of the image works well, as the WB of the flash- Av f/4 1/125 ISO
lit subject matches that of the background. Matching the WB of two SEC 250
different light sources makes fine-tuning in postproduction simpler.



IMAGE
ENHANCEMENT

156 I N T R O D U C I N G |

IMAGE ENHANCEMENT

Capturing a photo is just the beginning: if you use Raw, you can process your
photos in countless ways. Having a clear idea of what you want to achieve when
you start enhancing photos postproduction will save time later, but you can go
back to Raw files months or even years after shooting. Personal tastes change over
time, so you may often find yourself working on old photos as well as current ones.

Postproduction software TETHERED CAPTURE

There are two types of postproduction software Some postproduction software lets you send captured
available. Straight image-editing packages, such as photos straight to your computer—a technique known as
Adobe Photoshop, essentially restrict you to working tethered capture. Being able to view your photos on the
on one photo at a time. They offer few (if any) larger screen makes tasks that require composition or
image-management tools, and once you have close attention much easier. Also, as soon as an image
completed editing a photo, it is saved as a “finished” has been shot, it is transferred straight to your computer’s
file (unless you make and work on a copy of the hard drive, where you can process
photo). Database-driven “workflow” packages, such it immediately.
as Adobe Lightroom, enable you to edit images, but
also provide options for you to manage your photo
collection, add keywords, and even geo-tag your
photos. A key advantage of this software is that all of
the edits that you make are nondestructive—they
are stored in the database rather than being applied
directly to the imported photo. The edits are only
applied to the exported file. This also applies to
JPEGs that have been imported.

SUGGESTED WORKFLOW BACK UP MANAGE AND ASSESS

IMPORT Always back up your photos to an Adding keywords and a description
external hard drive to reduce the to photos can help you track them
To import photos, connect your risk of losing data. Better still, keep a down later. Most workflow editing
camera and computer via a USB cable, backup hard drive and swap them software has label-adding options,
or by using a card reader. How long regularly. Cloud storage is good for which you can use to sort your
this takes depends on the read/write storing smaller files, such as JPEGs. photos into categories.
speed of the memory card and the
USB specification of your computer.

IMAGE ENHANCEMENT 157

Adjustments when shooting—should only need a little tweaking,
using just a few adjustment tools. The most useful of
There are far more postproduction adjustment these are shown below.

options than can be covered in this book. However,

most photos—as long as you made the right choices

ADJUSTMENT BEFORE AFTER

ROTATE AND CROP
There are two reasons to crop a photo: to remove unwanted details
around the edges, or to change the aspect ratio so that you can improve
the composition. You can rotate a photo dramatically to change its
orientation, or apply it more subtly to straighten out key elements.

EXPOSURE
The Exposure adjustment enables you to correct any errors in exposure
and to adjust the photo’s brightness to your taste. You can also use it to
create a high- or low-key photo (see p.72). Lightening a photo can,
however, increase the visibility of noise, particularly in areas of shadow.

WHITE BALANCE
The color temperature of a JPEG can only be adjusted crudely, to warm
it or cool it down. With Raw, you can select any preset or specific Kelvin
value without losing quality. You can also use the White Balance color
picker to take a White Balance “reading” from a neutral area of the photo.

CONTRAST
Decreasing the contrast in a photo pushes all of the tones closer to a
mid-gray, making the shot appear flatter and duller. Increasing the contrast
pushes tones further apart, making the shadows darker and the highlights
brighter, and the colors appear more saturated.

SHARPENING
This option helps to emphasize details and reveal texture. How much you
apply sharpening varies according to how the image is to be used. Input
sharpening, applied after import, is normally moderate; output sharpening,
when you are preparing a photo for printing, is usually more extensive.

ADJUST EXPORT PRINT

Make any alterations to your photos. Export Raw photos to a more useful Creating prints is the ultimate way
If you shot a sequence in the same type of file, such as JPEG. At this to view photos, as prints have a
conditions, adjust one photo to your stage, you can change settings such tactile quality that screen images
liking and then apply the same settings as resolution. Photos for screen use lack. Printing involves making
to the others. This saves time, even if can be lower in resolution than aesthetic choices and can be just
the photos need fine-tuning. those that you want to print. as creative as shooting photos.

158 E X P L A I N I N G | EDITING SOFT WARE

USING EDITING SOFTWARE

The software that you use to edit your photos is very much a personal choice. You can often
download a 30-day trial version of commercial software, which is enough time to find out
whether it suits the way you work. Many cameras also come with free software on a disk,
or available to download. Another option is open-source software, which is often inexpensive,
sometimes free, and can even rival commercial software in terms of features.

Global and local corrections SOFTWARE PLUG-INS

There are two broad types of corrections that you Some image adjustments involve several different steps
can make to a photo: global and local. A global and are time-consuming, but you can save time by using
correction is applied to the entire photo and affects presets to automate tasks, especially complex adjustments
each pixel in the image equally. A local correction is that you make regularly. Adobe Photoshop and Adobe
just made to a specific area of the photo. As a rule, Lightroom also support plug-ins. These third-party “mini
you should make global image corrections, such as apps” are added to the software to increase specific editing
WB or exposure, first. Once you have done this, you capabilities, such as making black-and-white conversions
can then start to fine-tune specific areas of the photo easier. Plug-ins often use a custom interface that differs
that need extra work, using tools such as the dodging from the standard interface of the host software. This
and burning brushes. means you have to learn another way of working, but
the time you save makes this worthwhile.

GRADUATED FILTER Lightroom’s Graduated filter

1 lets you locally adjust exposure,

sharpness, and saturation.

Select the Graduated filter tool,

then click and drag the image

to add a gradient. You can add

2 multiple filters for different
adjustments. To remove one,

click on its pin and press delete.

1 You can rotate Graduated
filters, using the pin as
the rotation point. You
can also drag the pin to
move the filter around.

2 The two outer lines
of the Graduated filter
define the gradient.
Pulling the lines apart
softens the effect.

IMAGE ENHANCEMENT 159

Sensor dust CLEANING A SENSOR

Digital sensors have an electrical charge that Sticky or wet particles such as pollen have to be removed from
attracts dust and other small particles, which stick the sensor using sensor cleaning tools. The simplest way is to
to the sensor. This is not a problem for cameras use a sensor swab with a few drops of sensor cleaning fluid on
with a fixed lens, but DSLRs and CSCs both let dust it. Gently wipe the swab across the sensor, once only on each
into the camera body every time you change the side, to remove the particles. DSLRs usually have a mirror
lens. Over time, dust can build up on the sensor, lockup function specifically for cleaning the sensor.
becoming visible in your photos as small, diffuse
gray disks, particularly in light areas or on even APERTURE AND LENS TYPE
tones, as in the sky. CSCs are more prone to
problems with dust than DSLRs, as their sensors The visibility of dust is affected by the lens and aperture you
are not protected by a shutter. There are several use. The smaller the aperture, the more visible the dust. If you
solutions to sensor dust, some of which are applied use large apertures and long-focal-length lenses, you may never
when you shoot and others in postproduction. see dust in your photos. Landscape photographers have to clean
their sensors regularly because they work in dusty environments
and tend to use small apertures to maximize depth of field.

AUTOMATIC REMOVAL DIGITAL REMOVAL

Most modern DSLRs and CSCs have automatic dust removal Dust can be removed in postproduction using a number of
systems that physically shake the sensor, making dust fall off. tools. The simplest is the Spot Healing Brush, with which you
These systems can be set to activate when the camera is turned “paint” over the dust. The software then automatically replaces
on or off, or as necessary after selecting the sensor cleaning it with patches of color and texture similar to the area around
option. The dust removal cycle is a much easier task than the brush. The Clone Stamp tool is more complex but gives you
cloning out dust spots in postproduction. better control over what you patch in to replace the dust.

ADJUSTMENT BRUSH

2 Lightroom’s Adjustment Brush
1 tool enables you to paint local
adjustments onto your photo.
You can create two brushes
and alternate them to vary the
Size, Feather, and Flow. The
brushes also can be set to
Erase to remove adjustments.

3 1 A brush is shown by a
pin. Select it to move or
delete an adjustment.

2 Size alters the brush’s
dimensions. Feather sets
how soft the edge is.

Brush : A B Erase 3 The Flow slider sets how
quickly the effect builds
Size 29.4
78 up. A low Flow value lets
Feather
100 you increase it gradually.
Flow

160 A P P LY I N G | DODGING AND BURNING

LIGHTENING AND DARKENING

Dodging and burning are simple but useful ways too far and aim to retain some detail in the area you
to improve selected areas of an image. Dodging is are working on. Both tools let you vary the strength
lightening an area of a photo and burning means to of the adjustment. It is a good idea to start with a
darken an area. Both terms come from techniques low strength and apply the effect gradually. If you
used in the darkroom on analog prints. As with any need to correct a photo’s overall exposure, do that
image enhancements, you must be careful not to go before dodging and burning.

Size: 750 px
Hardness: 0%

10 19 700 750

Dodge Tool Size: 750 px
Hardness: 49%
Burn Tool
Sponge Tool

25 50

ASSESS THE PHOTO CHOOSE THE BRUSH SIZE CHANGE THE HARDNESS
Open the photo in editing software A brush that is more than 1,000 Use the Hardness slider to set
(Adobe Photoshop was used here), and pixels in size is ideal for adjusting large how marked the adjustment will be.
decide which areas of your photo you areas of a photo, such as sky. However, A high value creates a very crisp-edged
would like to adjust. Select either the for a more targeted adjustment, such as effect. A low value results in a more
Dodge or Burn tool. here, select a smaller brush size. subtle adjustment.

Range: Shadow Exposure: Exposure: 15% Protect Tones Exposure: 15% Protect Tones
Midtones
Highlights Woman_with_white_hair.psd

SET THE TONAL RANGE SELECT THE EXPOSURE SELECT PROTECT TONES
Use the Range menu to select the Adjust Exposure to control the Check Protect Tones, so that
part of the tonal range of your photo that tool’s strength. Start with a low value so color will only get lighter or darker
you want to change with the tool. Here, that you can increase the effect slowly. as you brush. If it is left unchecked,
Midtones has been selected. You can always raise the exposure. the colors can change.

IMAGE ENHANCEMENT 161

LIGHTEN THE IMAGE DARKEN THE IMAGE SHADOWS/
Move the tool gently back and forth To darken an area, such as this HIGHLIGHTS
over the area that you want to adjust. Stop highlight on the forehead, select the Burn
every now and again to assess the effects. tool and repeat the same steps as for The darkest and lightest areas of
It is better to adjust the image a little at a the Dodge tool, moving the brush gently a photo can be adjusted globally
time and go over it again rather than to try back and forth, a little at a time, until you (across the entire photo) using the
to apply the adjustment all at once. are happy with the result. Shadows/Highlights tool. In Raw
editing software, you can use
Shadows/Highlights to recover
image detail from highlights that
are only slightly clipped (when detail
in highlights or shadows is lost). Be
careful, though—heavy-handed use
of this tool can lead to flat photos
that are low in contrast.

THE RESULT

Here, the Dodge and Burn tools have been used to lighten areas of shadow
and to modify (darken) a highlight on the subject’s face. The results look
natural and subtly enhance the photo without looking processed.

▲ BEFORE DODGING AND BURNING

162 A P P LY I N G | LENS CORRECTION

CORRECTING SUBTLE FLAWS

No lens is perfect—even the most expensive lenses to the metadata (see p.178) of every photo that is shot
can produce photos with aberrations or distortions. with it. Lightroom has a number of built-in profiles for
Adobe Lightroom’s Lens Correction panel offers specific lenses, which enable you to automatically
a range of options for correcting these flaws. With a correct lens flaws on multiple photos at the same time.
few notable exceptions, such as older manual-focus For the best results, apply profiles to RAW files, as JPEG
or adapted lenses, information about a lens is added formats may produce inconsistent results.

Lens Correction Lens Correction

Profile Manual Profile Manual

Remove Chromatic Aberration Distortion 0
Enable Profile Corrections Amount
Setup Custom
Constrain Crop

Lens Profile Defringe 0
Make Sony
Model Sony DT 18-200mm Amount 30/70
Profile Adobe (Sony DT 18… Purple Hue 0

Amount Amount 40/60
Distortion Green Hue
Vignetting
100 Vignetting
100
Amount
Midpoint 0
50

AUTOMATIC CORRECTION MANUAL CORRECTION
Chromatic aberrations and distortions are only visible if you If a profile for your lens is not available, or if you want to
examine the photo very closely. Check Enable Profile Corrections. make adjustments selectively, click on Manual. This allows you
If a lens profile is not automatically selected, use the Make/Model/ to make adjustments to distortions and vignetting and to crop
Profile menus to find out if the profile for your lens is available. the photo yourself (see steps 3, 4, and 5).

Distortion +25
Amount

Constrain Crop

Vignetting 0 Vignetting +29
50 65
Amount Amount
Midpoint Midpoint

ADJUST DISTORTION CORRECT VIGNETTING
Move the slider right (applying a positive value) Move the Amount slider to the right to lighten
to correct barrel distortion or to the left (applying a the corners, or to the left to darken them. A high
negative value) to correct pincushion distortion Midpoint value pushes the effect further into the
(see p.95). corners; a low value spreads it toward the center.

IMAGE ENHANCEMENT 163

Constrain Crop REMOVING CHROMATIC ABERRATIONS

CROP THE IMAGE The Remove Chromatic Aberration tool
Check Constrain Crop to
automatically crop the photo and remove automatically counters the effects of red/
any curved edges that were created when
correcting distortion in step 3. green or blue/yellow chromatic aberration,

but it does not remove the purple/green

fringing often seen when using fast prime

lenses at maximum aperture. This can be

removed by selecting Defringe, then

Defringe adjusting the

Amount 0 Amount and
Purple Hue 30/70
the Purple and
Amount
Green Hue 0 Green Hue sliders
40/60 (see left).

THE RESULT ▼ BEFORE CORRECTION ▼ AFTER CORRECTION

If you are careful with your adjustments, you can straighten out
subtly bowed lines in buildings (see p.100). Fringing (see above)
and vignetting (see right) have also been removed.

164 A P P LY I N G | SHARPENING

ADJUSTING SHARPNESS

Most camera sensors are designed to produce slightly degree of sharpening (output sharpening) if you plan
soft images to counteract the effects of moiré, an to print a photo, as ink tends to spread, softening the
interference pattern seen when shooting detailed print. In Adobe Lightroom (the editing software that
subjects such as fabric, so the images need to be has been used in this step-by-step guide) holding
sharpened. JPEGs are usually sharpened in-camera, down Alt (Windows)/ Option (Mac) while moving the
but Raw files have to be slightly sharpened in post- sliders helps to preview the effects of sharpening by
production (input sharpening). You need a heavier briefly changing the photo to black and white.

ASSESS YOUR IMAGE Sharpening
Open your photo at 100%
magnification in the editing software Amount 95
of your choice (here, Adobe Lightroom Radius 0
was used) and check how sharp it is. Detail 0
Sensor softness is a slight blurring of 0
fine detail. Open the Detail panel in Masking
Lightroom and locate the sliders that
control sharpening. First, set the
Amount; the higher the value you
select, the sharper the image will
become. Going too far, however,
will make the image look crunchy.

Sharpening Sharpening Sharpening

Amount 95 Amount 95 Amount 95
Radius 1.5 Radius 1.5 Radius 1.5
Detail Detail 95 Detail 95
0 15
Masking 0 Masking 0 Masking

SET THE RADIUS SET THE DETAIL SET THE MASKING
The Radius slider sets the size of Adjusting Detail changes the Areas of even tone, such as
the area being sharpened around edges emphasis given to edges. The higher the sky, do not need sharpening. Set a high
in the photo. A high value increases value, the sharper the textural details. Masking value, as this will protect even
sharpness but may create a halo effect Hold Alt (Windows) / Option (Mac) while tones from being sharpened. Again, hold
(light band) around the edges. moving the slider to preview the result. Alt / Option to preview the result.

IMAGE ENHANCEMENT 165

CREATIVE USE OF BLUR

Photos do not have to be pin sharp, even when ▲ OVERALL BLUR ▲ SELECTIVE BLUR
they are printed. Deliberately shooting a subject
out of focus can be very effective, particularly
if it is a bold shape or brightly colored. The
lack of sharpness adds an element of ambiguity,
making the viewer wonder how to interpret the
image. You could also try using a shallow depth
of field, as this helps to simplify a photo by
placing the main emphasis on the subject,
which should be in sharp focus.

THE RESULT ▼ BEFORE SHARPENING

Subjects with a lot of fine detail, such as the cathedral and other
buildings in this image, benefit from moderate sharpening. Here,
it has accentuated the detail in the tiles of the cathedral, and the
edges of the surrounding buildings. The degree of sharpening
that you apply to an image will vary, depending on the subject.

▲ AFTER SHARPENING

166 E X P L A I N I N G | BL ACK-AND-WHITE PHOTOGR APHY

BLACK-AND-WHITE
PHOTOGRAPHY

Although color photography was invented in A black-and-white photo is composed of a
the late 19th century, it did not replace black- monochromatic range of tones. You can either
and-white as the medium of choice until take photos in black and white or make your
relatively late in the 20th century. Black-and- photos monochrome in postproduction.
white photography is not obsolete, however: If you want to enhance your black-and-white
it has a timeless quality that appeals to photos even further, you can apply tints and
amateur and professional photographers alike. techniques such as split-toning.

Choose your subjects carefully whether it is contrast in brightness or contrast in
color. If the various colors in a photo are distinct
Not all color photos or subjects are good and can be separated tonally using filtration or in
candidates for conversion to black and white. Any postproduction, then it will be easier to convert
subject that relies on color for impact, particularly a photo into black and white after you have shot it.
when the various colors in the photo are similar,
is generally not ideal. What does work is contrast,

SUITABLE

◾◾ Good tonal and color range ◾◾ Red filtration darkens sky
◾◾ Contrast quite high, bright clouds and dark shadows ◾◾ Strong highlights and shadows

UNSUITABLE

◾◾ Low contrast photo with limited range of colors ◾◾ Flat, little visual interest
◾◾ Delicate pink of flower an important feature of subject ◾◾ Lack of definition, flower dissolves into background

IMAGE ENHANCEMENT 167

Colored filters LANDSCAPE PORTRAIT

Filters lighten colors that are similar ▲ No filter

to themselves and darken those on

the other side of the color wheel.

Try using different filters and see

what works best depending on your

subjects. There are options to mimic

physical filters on the Monochrome

color setting in-camera. ▲ No filter

YELLOWEFFECTS OF COLORED FILTERS ON BLACK-AND-WHITE IMAGES

◾◾ Deepens blue tones slightly,
adds contrast to the sky

◾◾ Lightens yellow/green
foliage

◾◾ Lightens skin tones and
the freckles

RED ◾◾ Red sky burns out

◾◾ Reduces the effects of haze
and fog

◾◾ Skin tones overlightened
and look unnaturally pale

GREEN ◾◾ Lightens blue sky slightly

◾◾ Lightens green foliage and
increases contrast with brightly
colored flowers

◾◾ Darkens skin tones slightly

BLUE ◾◾ Overlightens the sky

◾◾ Increases the effects of haze
and fog

◾◾ Darkens skin tones unnaturally

168 A P P LY I N G | SPLIT TONING

CHANGING TONES

Monochrome photos do not need to be made purely to you which colors you use. Complementary

of shades of gray—photographers began to tone colors work well, with the warmer color, such as

black and white photos soon after photography was yellow-orange, used for the highlights and the cooler

invented. Simple toning adds one color to a photo; one, such as blue, for the shadows. This mimics the

split toning adds two—one to the highlighted areas way that shadows tend to be cooler in color than

of the photo, and the other to the shadows. It is up brightly lit areas of a scene.

Basic Auto
Exposure 0.00
Contrast -50

ASSESS YOUR PHOTO LOWER THE CONTRAST CONVERT THE IMAGE
Start with a color image suitable
for conversion to black and white. Split Use the Contrast slider in In Lightroom, on the Basic panel,
toning can also be used on color photos
that you will keep in color. Lightroom’s Basic panel, Develop module, Treatment section, change Color to Black

to slightly lower the contrast so there is & White.

enough detail in the highlights and shadow.

Split Toning Split Toning

Highlights Shadow Split Toning
Hue +15
Saturation 25 Hue 224 Balance
35 Saturation 53

APPLY THE HIGHLIGHTS TONE APPLY THE SHADOW TONE ADJUST THE BALANCE
Starting with Highlights, use the Adjust the Shadow Hue and Balance the strength of the colors
Hue slider of the Split Toning tool to alter Saturation sliders, picking a color that in the highlights and shadows. Pull the
the color tone, and the Saturation tool to complements the one you chose for slider to the right to favor the highlights
vary the intensity of the color. the Highlights (see p.41). and to the left to favor the shadows.

IMAGE ENHANCEMENT 169

SEPIA

Sepia is a reddish-brown tint effect commonly
produced in early photographic prints by processing
chemicals that improved the archival properties of
the photos. This effect can be used to “age” a digital
photo. To add a single tone, set both the Highlights
and Shadows to the same Hue and Saturation value.

THE RESULT ▼ BEFORE SPLIT TONING

The cool blue tones of the shadows help to convey the chilly
temperature of this wintry scene. The pink that has been added to
the highlights gives the scene a late afternoon feel, replicating the
color effects of the setting sun.

170 A P P LY I N G | THE BRENIZER EFFECT

STITCHING TOGETHER BRENIZER
AND PANORAMIC PHOTOS

Once you have shot a Brenizer (see pp.104–105) or or Lightroom to stitch photos together. Photoshop
panoramic (see pp.64–65) sequence of photos, you is perhaps the better of the two because it provides
will need to stitch them together digitally to create you with more options. However, both of them offer
the final image. You can use either Adobe Photoshop the same basic Layout or Projection choices:

BRENIZER (STITCHED TOGETHER IN ADOBE PHOTOSHOP)

Photomerge

Layout Source Files OK Layers New Layer... N
Auto Use: Files Cancel Kind Copy CSS
Perspective Duplicate Layers...
Cylindrical Browse... Normal 100% Delete Layers
Spherical Remove 100% Delete Hidden Layers
Collage Add Open Files
Quick Export As PNG
Progress Export As...
Align Selected Layers Based On Content
Layout New Group...
Auto New Group from Layers...
Collapse All Groups

Cancel New Artboard...
Artboard from Group...
Artboard from Layers...

Lock Layers...

Convert to Smart Object
Edit Contents

Reposition Perspective Blending Options...
Edit Adjustment...

Blend Images Together Merge Layers Create Clipping Mask G
Vignette Removal Merge Visible
Geometric Distortion Correction Flatten Image Link Layers E
Content Aware Fill Transparent Areas Selected Linked Layers E

SELECT AUTO Merge Layers
Open all of the photos that you Merge Visible
want to stitch together. Next, go to File, Flatten Image
Automate, and then Photomerge. In the
Layout column, select Auto. Check PROCESSING TIME FLATTEN THE LAYERS
Blend Images Together. Finally, click Merging photos takes time,
Add Open Files. particularly with high-resolution files. A new file will be created with the
Merging quarter-sized copies of your
photos will be quicker. Because you are photos stacked as layers. If you want to
merging a lot of photos, the final image
will have a very high resolution. be able to edit these layers, save the file

as a PSD or TIFF file. You can save a

flattened image as a JPEG, but the

photo will lose some resolution.

CROP THE PHOTO THE RESULT
The flattened photo will have ragged edges. Use the Crop Check the entire photo carefully to see if there are any
tool to shape the image, holding down Shift as you drag your areas that have been misaligned. This can happen when part of
cursor to constrain the crop to a square. If you know the crop the scene, such as leaves, moves while you are shooting. Use
you’d like to set, input the aspect ratio in the Crop tool options bar. the Clone Stamp tool to repair these areas.

IMAGE ENHANCEMENT 171

Perspective, Cylindrical, or Spherical. (Auto, architectural subjects, to be straight in the final
which is an option with Photoshop alone, makes photo; Spherical works best when you are creating
the Layout selection for you.) Perspective panoramas that are very wide; Cylindrical is a good
is a good choice if you want lines, such as in compromise between the first two options.

PANORAMIC (STITCHED TOGETHER IN ADOBE LIGHTROOM)

Histogram Library Photo Metedata View Window Help Panorama Merge Preview
Add to Quick Collection and Next Panorama Options
Basic Select a Projection
Tone Curve Open in Loupe R Spherical
Show in Finder Cylindrical
ADJUST YOUR PHOTOS Go to Folder in Library Perspective
Select one of your photos and Lock to Second Window
apply any adjustments you want to H Auto Crop
make. Apply the same adjustments to Open in Reference View HDR M Boundary Warp:
the other photos in the sequence so that Panorama
they are all completely consistent. Edit in Cancel
Photomerge Merge

Stacking CHOOSE A PROJECTION
People Select the projection method that
Create Virtual Copies best suits the type of panorama you are
Set Copy as Master creating. A high Boundary Warp value
stretches the edges of the panorama to
Rotate Left (CCW) create a perfectly rectangular shape.
Rotate Right (CW)
Flip Horizontal
Flip Vertical

Set Flag

SELECT THE SEQUENCE
In the Library module (a mode
in which you can organize photos),
multi-select all the images in the
sequence and then go to Photo,
Photomerge, and then Panorama.

Panorama Merge Preview

Panorama Options
Select a Projection

Spherical
Cylindrical
Perspective

Auto Crop
Boundary Warp:

Cancel
Merge

CROP THE PANORAMIC THE RESULT
Set the Boundary Warp value to 0 and select Auto Crop If you use Raw images, Lightroom creates a separate Raw
to crop the panorama to a rectangular shape without stretching file for the final panorama. You can apply more adjustments to
the edges or leaving a ragged edge. Click on Merge to begin this new file in the Develop module without compromising the
stitching the images together. quality of the image in any way.

172 E X PL A I N I N G | L AYERS

WORKING WITH LAYERS

Layers can be added to photos in Adobe Photoshop and editing software such as Gimp. Adding
a layer to a photo is like laying a sheet of glass over a print: you can draw on the glass without
affecting the print underneath. Adding layers is like adding more sheets of glass, and you can
work on these without affecting anything below. There are different types of layers, but the most
useful ones for editing a photo are the adjustment layers, which let you alter aspects of the photo
such as exposure or contrast. Unlike making the alteration to the photo itself, you can either tweak
the layer settings or discard the adjustment layer altogether if you do not like the final effect.

Layers LAYER MASKS

You can add numerous layers to a photo, each Mask_Rocks_image Layer mask
of which makes different adjustments or adds blocking sky
new content. By creating a layer mask, you Rocks_image Layer 1 with
can isolate the areas of an image to which sky masked
you want to apply an effect. You could
mask the background of an image and Sky
make an adjustment to the foreground,
for example. Even with just a few layers, Background
it is important to organize them logically. layer with sky
Start by renaming layers as you create visible ▲ IMAGE
them, using helpful titles. To rename a
layer, double click on its name in the layer
panels. As you add layers you create a stack.
Moving layers into groups is a simple way to
tidy up a layer stack.

PHOTOSHOP ADJUSTMENT LAYERS Hue/Saturation Changes the color values of all or
a selection of colors and their intensity.
Brightness/Contrast Darkens or brightens a
photo globally, and adjusts the overall contrast. Color balance Adjusts the overall color tint of an
image; can be used to color-correct photos.
Levels Uses an image’s histogram and control
tools to make tonal corrections. Black and white Converts color photos to black
and white using sliders or a small range of presets.
Curves Adds or removes contrast, and alters color
as you vary the shape of the curve. Photo filter Mimics the use of photographic color
correction filters to alter the White Balance.
Exposure Alters the exposure of a photo in stops,
similar to in-camera exposure compensation. Invert Flips the tonal range of an image to produce
a negative version of the original.
Vibrance Adjusts the intensity of more
muted colors.

IMAGE ENHANCEMENT 173

THE LAYERS PALETTE (OF ADOBE PHOTOSHOP)

Layer options can be found on both the Layer menu KEY
and the Layers panel (if it is not visible, go to the
Windows menu and select Layers). The default layer 1 Layer filter options 14 Layer menu Includes
is named Background and any layers that you add Hides or reveals the options such as deleting
are stacked above it. The layer currently selected is
highlighted gray. You can move layers up and down the various types of layer. or flattening layers.
stack by dragging the selected layer into position. You
can also multiselect layers to move more than one. 2 Blend mode Alters 15 Layer opacity Changes
how one layer visually a layer’s transparency.
affects any layer below.
16 Layer fill Alters a layer’s
3 Lock options transparency, but does
Prevents a highlighted
Layers 14 layer from being not alter the style effect
moved or edited.
15 (if one has been applied).
16
1 Kind Opacity: 100% 4 Layer visibility 17 Layer mask link Unlinks
Fill: 100% 17 Hides or reveals a layer. a layer and layer mask
2 Normal 18 so they can be moved
3 Lock: Text Layer 19 5 Text layer Enables independently.
4 Effects 20 you to add text.
5 21 18 Layer mask An image
6 Drop Shadow 6 Layer style type of the layer mask.
7 Sky Lists styles applied to
8 19 Adjustment layer
Curves 1 a layer. Icon can be Applies an adjustment
9 Layer 1 to the layers below.
clicked to turn on or off.
10 Background
7 Layer group icon 20 Layer stack Lists the
Contains groups layers and layer masks
of layers. in a photo.

8 Layer clip Connects 21 Lock icon Indicates that
two neighboring a layer has been locked
layers together. to prevent editing.

9 Layer thumbnail 22 Adjustment layer
Shows the contents options Applies a
of a layer. specific adjustment
to the layers below.
11 22 10 Background layer
23 The default layer when 23 Layer group Adds a
a photo is opened. new group folder inside
12 24 the layer. Drag a layer to
11 Layer mask options the group icon to add the
13 Adds an editable mask layer to a group.
25
to the selected layer.

12 Layer style options 24 New layer Adds a new
Shows the effects layer to the layer stack.
Drag an existing layer
ADJUSTMENT LAYERS or styles that can be to this icon to duplicate
the layer.
There are 19 different adjustment layers. They let you vary applied to a layer or
effects by altering the layer options, making masks for local
adjustments, and altering opacity. Adjustment layers affect groups of layers.
all visible layers below, but you can lock the adjustment to
just the layer directly below by applying the layer clip. 13 Layer link options 25 Delete layer Deletes the
Temporarily links currently selected layer.
selected layers so that Drag a layer to the icon
they can be altered or to delete it.
moved simultaneously.

174 A P P LY I N G | L AYER MASKS

SELECTIVE ADJUSTMENTS

At first, the effect of a Photoshop adjustment layer layer to which the mask is attached. Black areas
is applied globally (to the entire image). Layer masks conceal that portion of the layer, allowing the layer
are a way to limit the adjustment to selected areas underneath to show through. Remember this
of the image. Use a layer mask if you want to adjust mnemonic: white reveals, black conceals. Gray
a part of your photo. A layer mask can be added to areas reveal a blend of the layer to which the
any type of layer. White areas on the mask reveal the mask is attached and the layer beneath.

Layers Channels Paths Properties
Hue/Saturation...
Kind Opacity:
Normal Preset: Custom
Master
Lock: Fill:
Hue:
Solid Color...
Gradient... Saturation:
Pattern...
Lightness:
Brightness/Contrast...
Levels... Colorize
Curves..
Exposure...

Vibrance...
Hue/Saturation...
Color Balance...

OPEN THE PHOTO ADD THE ADJUSTMENT LAYER MAKE ADJUSTMENTS
Start with a 16-bit TIFF exported Select the type of adjustment layer Reduce the color to silvery hues
from Raw editing software. Exporting as a that you want to apply from the pop-up using the sliders in the Properties panel.
16-bit file instead of an 8-bit file helps menu at the bottom of the Layer panel. If this is not visible, open it from the
preserve image quality. Assess what you Here, Hue/Saturation has been selected. Window menu at the top of the screen.
would like to change.

Size: 600px

Layers Channels Paths

Kind Hardness: 40%
Normal
Lock: Opacity:
Fill:

Background

PAINT THE LAYER MASK ZOOM IN FOR DETAILS
Select the Brush from the Tools panel and edit the Vary the size of the brush tool to suit the size
layer mask (highlighted). Set the foreground color to black of the area you are working on. Zooming into the
and paint any part of the image where you want to remove photo and using a small brush will enable you to
the adjustment. The circle shows where the brush tool is. mask out intricate edges and details precisely.

IMAGE ENHANCEMENT 175

History Actions Properties Link Layers QUICK MASKS
Masks Select Linked Layers
Photoshop’s selection tools, such as the
Layer Mask Merge Down Rectangular Marquee and Lasso, can
Merge Visible be turned into a temporary mask by
Density: Flatten Image clicking the Quick Mask icon on the
Tool bar. This lets you make alterations,
Feather: Animation Options such as painting new selected areas or
Panel Options softening the outline of an area with
Photoshop’s Blur filter. Clicking Quick
CHECK THE LAYER MASK FLATTEN THE LAYERS Mask once more will convert the mask
Click on the mask thumbnail on Select Flatten Image in the layer back into a selection.
the Layer panel while holding down panel menu to save the file. Save the
Option (Mac) / Alt (Win) to check that master file as a TIFF or PSD to preserve
the layer mask is covering what you want. all the layers. This will allow you to reopen
the file later and make further adjustments.

THE RESULT

The Hue/Saturation adjustment layer was used to tone down the colors
in the background and make the stag stand out proud in the foreground.
The silvery hues have also given the photo an atmospheric, wintry feel.

▲ BEFORE ADJUSTMENT

176 A P P LY I N G | CROSS PROCESSING

ADJUSTING COLOR

Cross processing is a darkroom method in which colors are no longer true to life, most notably in
one type of film, such as print, is developed in the shadows and highlights. You can simulate the
chemicals that are normally meant for a different effects of cross processing digitally by adjusting the
type of film, such as transparency. Contrast relative brightness of an image’s individual color
is heightened in the resulting images and the channels: red, green, and blue.

SOLARIZATION Layers
Kind
A photo is solarized when either its
shadows or its highlights are tonally Normal Opacity: 100%
inverted. The effect works best with
high-contrast photos. Using the Fill: 100%
Curves tool, add a control point
halfway along the tone curve. To Background
solarize shadows pull the point down
to the bottom of the Curves box, then Curves…
pull the shadow control point in the Gradient…
bottom left corner up to the top. To Pattern…
solarize highlights, pull the control Brightness/Contrast…
point to the top of the box, then Levels…
move the highlight control point, Curves…
in the top right, to Exposure…
the bottom.
ASSESS YOUR IMAGE SELECT CURVES
Select a photo that you think the Add a Curves adjustment layer
technique might suit. Simple, colorful to the photo. This will make it easier to
images with a single subject work well, change afterward. You also have the
especially if they have strong shadows option to change the layer’s Opacity
and highlights. to vary the strength of the effect.

▲ SOLARIZED SHADOWS Curves Auto Curves Auto

Custom Custom
Green Blue

Input: Output: Input: Output:

▲ SOLARIZED HIGHLIGHTS ADJUST THE GREEN CHANNEL ADJUST THE BLUE CHANNEL
Select the Green channel and add Select the Blue channel and add
two control points. Pull the left-hand point two control points. Pull the left-hand
down and the right-hand point up, though point up and the right-hand point down
not as far as for the Red channel. to produce an inverted S shape.

Curves Auto

Custom
Red

Input: Output:

ADJUST THE RED CHANNEL
Select the Red channel from the
RGB menu on the Curves panel. Add
two control points spaced equally apart.
Pull the left-hand point down, and the
right-hand point up, to create an S shape.

Curves Auto

Custom
RGB

Input: Output: THE RESULT

ADD CONTRAST Digital cross processing has transformed an
Select RGB and add contrast to everyday photo into a vibrant image with a quirky,
the photo by creating an S shape with retro feel. A few subtle tweaks to the colors and
two control points. There’s no right or contrast have created a completely different
wrong adjustment. It’s up to you. atmosphere and look.

▶ BEFORE ADJUSTMENT

178 E X P L A I N I N G | DIGITAL ASSET MANAGEMENT

CATALOGING METADATA
YOUR IMAGES
Information that is embedded in a photo
Postproduction is only one aspect of working with is known as metadata. Data created by the
your photos on a computer—cataloging them camera, such as the exposure settings, is known
efficiently is vital. When shooting on film was common, as EXIF metadata. You can also add metadata to
photographers used to store their negatives and photos using DAM software. This is known as
transparencies in named folders kept in filing cabinets, IPTC metadata and includes information such
with a paper list showing where to find each photo. as your personal details, image copyright status,
Today, digital files are stored in folders on your and information related to specific images, such
computer or hard drive, and software databases make it as a description and relevant keywords.
possible to retrieve the photos that you want instantly.
Metadata Keywords
Digital asset management
▲ EXIF METADATA
Organizing digital files—such as photos—so that you can
locate specific files quickly is referred to as digital asset IPTC Metadata
management (DAM). This includes renaming files, creating
folders with useful names, and moving relevant files into Preset None
these folders. It also includes adding keywords and
descriptions to your photos, as well as important File Name 1712_0001.dng
procedures such as backing up files. You can do some Metadata Status Has Been Changed
of these things using a computer’s operating system, but
dedicated DAM software makes asset management much Creator Contact
easier and more efficient. DAM capability is often built into Job Title David Taylor
image-editing software. Adobe Lightroom is one of many Address Photographer
types of software that enables you to start sorting your 27 Clasper Way
images as soon as you have imported them. State / Province Hexham
Postal Code Northumberland
Country NE46 4SG
Phone United Kingdom
E-Mail 01434 498767
Website
www.davidtaylorphotography.co.uk

Copyright
Copyright Status Copyrighted

Copyright David Taylor Photography. All
Rights Reserved
Rights Usage Terms
Copyright Info URL

▲ IPTC METADATA

WORKFLOW ASSIGN A CREATOR ADD A CAPTION

ASSIGN COPYRIGHT Although you can assign the A caption is a short sentence
copyright to another party, you are that describes a photo (important
Every photo you shoot belongs to you, the creator of your own photos. Both information can also be added as
unless you assign the copyright to this field and Copyright can be used keywords). Add a caption that gives
another person or company. Add to determine if your photos have anyone looking at the photo a useful
copyright information to a photo’s been used without your permission. summary of what it is about.
metadata, including what rights
restrict the use of the photo.

IMAGE ENHANCEMENT 179

WATERMARK

A visible word or graphic that is applied to a photo in postproduction is called a
watermark. They are used to ensure that photos cannot be used by a third party
without the creator or copyright owner’s permission, either when
it is printed or placed online. Watermarks should not
be added to the original photo, but to a copy that is
created specifically for the purpose of uploading.

ORGANIZATION CATALOGUE FOLDERS

CREATING FOLDERS ..:Photography_files
animals
Organizing your photos into named folders is a key part of general
image management. There is no right or wrong way to do locations
this, as long as you have your own system, and you can british_isles
expand it over time. One simple way to organize folders is to channel_islands
create a main folder for a particular topic, such as Landscape, england
and then to create nested folders that become increasingly buckinghamshire
specific: USA > California > Yosemite > Half Dome and so on, cambridgeshire
for example. The advantages of this system are that you can cleveland
build it up as time goes on and that it is logical for other cornwall
people to follow. Use your DAM software to create folders county_durham
and to move photos around rather than your computer’s cumbria
operating system, as this will enable the software to keep derbyshire
track of any changes you make. devon
dorset
NAMING FILES east_sussex
hampshire
Every photo you shoot is assigned a numeric file name by
your camera, starting at 0001. Unfortunately, this system loops brightonbeach_0041.jpg
round and begins to repeat after 9,999 photos, so you could
end up having numerous photos with the same file name,
making finding a particular photo more difficult. Some
cameras assign a date to photos, but this is not a foolproof
way of naming your files. To avoid confusion, use a naming
system that will never repeat, such as adding the location to
the file name along with its numerical value (see right).

ADD KEYWORDS ADD A RATING FILE THE PHOTO

Add a comprehensive set of keywords You can add a rating from 1 to 5 If you store all of your photos in one
to a photo to make searching for a to a photo, either in-camera or in folder, you will soon find it difficult
particular image easier. Keywords postproduction. Use this to organize to find a particular photo, and the
should include words that describe photos, either in terms of quality or more photos you take, the worse the
a photo’s contents, such as the into categories if you are creating a problem will become. Filing photos
subject and location. larger catalog of images. efficiently is therefore paramount.

180 A P P LY I N G | PRINTING

PREPARING TO PRINT

There is nothing more satisfying than seeing a really Then you need to decide what type of paper to
good print of one of your favorite photos, but you use, as this will affect the visual qualities—the color
have a few key decisions to make before printing. reproduction, for example—of the final print. You
First, you have to choose what print size to use, as can preview the effect that a particular type of paper
today’s high-resolution cameras mean that there is will have on color and contrast by using soft
very little limitation on the potential size of a print. proofing, which simulates the likely result onscreen.

Image Size Smart Sharpen
Preview
Image Size: 36.4 M OK
Preset: Default Cancel
Dimensions: Amount:
Fit To: Custom
Radius:
Width: Inches Reduce Noise:

Height: Inches Remove: Lens Blur

Resolution: Pixels/Inch Shadows/Highlights

Resample: Automatic

Cancel OK

PLAN THE PRINT’S SIZE SHARPEN THE IMAGE
Either set the print size in Print Settings or on a copy of Go to Filter, Sharpen, and then Smart Sharpen to open
your photo before printing. The second option is useful if you this window above. Experiment with the amount of sharpening,
plan to reprint the image a lot. Here, Adobe Photoshop was used. and note the settings you like best, depending on the paper.

Print

Photoshop Print Settings

Customize Proof Condition Printer setup Printer: EPSON Wi-Fi
Printer: EPSON Wi-Fi Presets: Color
Custom Proof Conditions: Custom
Proof Conditions OK Copies: Print Settings... Copies: Black & White Two-Sided
Cancel 210 By 297 mm
Device to Simulation: EPSON AP800 700 600 Series Premium Glossy Layout: Paper Size: A4 Borderless
Load...
Preserve RGB Numbers Save... Color Management Media & Quality
Rendering Intent: Relative Colorimetric Preview Remember to disable the printer’s color
management in the print settings dialog box. Auto Select
Black Point Compensation
Display Options (On Screen) Document Profile: Adobe RGB (1998) Auto Select
Color Handling: Photoshop Manage Colors
Simulate Paper Color Envelope Auto Select
Simulate Black Ink Printer Profile: EPSON AP800 700 600 Series Matt Save
Send 16-bit Data Quality Labels
Photo
Normal Printing
Photo Glossy Paper
Rendering Intent: Relative Colorimetric
Photo High Gloss Paper
Black Point Compensation
PDF Hide Details Photo Matte Paper ncel

Photo Semi-gloss Paper

Plain Paper

SOFT PROOF SELECT THE PAPER SET THE MEDIA TYPE
Go to View, Proof Setup, and select Select Print on your editing Set the Media Type to match the
Custom. Pick the printer profile for your software, followed by the printer profile paper you have chosen. This will affect
chosen paper. This is used to mimic the for the paper. This should be the same as the density of the ink used to print the
colours onscreen in the prints you make. the profile you selected for soft proofing. photo, as well as the time it takes to print.

IMAGE ENHANCEMENT 181

PAPER PAPER ADVANTAGES DISADVANTAGES
GLOSS
The type of paper you use is a personal ◾◾ Vibrant colors ◾◾ Reflective surface
choice, but the subject of the photo will ◾◾ Sharp details ◾◾ Can lack subtlety
have some bearing on it. The most common ◾◾ Durable print surface ◾◾ Prints stick to plastic sleeves
type of paper used is gloss, which results
in punchy, colorful prints, but it can be LUSTER ◾◾ Less reflective than gloss ◾◾ Slightly more expensive
too bold, particularly when printing soft- ◾◾ Wide color range than gloss
toned subjects that require a more subtle ◾◾ Long print life ◾◾ Less impactful than gloss
approach. A gloss surface also reflects any
bright lights or windows that are behind the MATTE ◾◾ No reflections when lit ◾◾ Print surface easily
viewer, which can make the image hard to ◾◾ Subtle artistic effect scratched
see. Matte paper works well for artistic ◾◾ Quick drying times ◾◾ Muted colors
images and black-and-white photos. Luster ◾◾ Soft details
paper is a good compromise between gloss
and matte.

THE RESULT

Paper designed to be printed on with inks—such as the paper in this
book—is coated to prevent excessive ink spread. Try experimenting
with different types of paper and see what works best for your photo.

182 G L O S S A R Y

GLOSSARY buffer Memory that is built into a critical focus The part of a photo
camera used as a temporary storage that is the sharpest.
aberration An image flaw for photos until they can be written
or distortion that is caused by to the memory card. crop To reshape or reduce the size
imperfect lens optics. of a photo, by trimming along one
Bulb An exposure mode in which or more of its edges.
adjustment A change made to the shutter can be held open for an
a photo in postproduction, to the indefinite period by holding down crop factor A figure used to
brightness or contrast, for example. the shutter button. calculate the difference in angle
of view when a lens is attached to
angle of view The angular extent burning A postproduction digital cameras with different sensor sizes.
of an image, measured in degrees, adjustment that makes an image—
that is projected onto the sensor. or part of an image—look darker. CSC (Compact System Camera)
An interchangeable-lens camera that
aperture A variable iris inside a burned-out A term for highlights streams live image data from the
lens, used to control the amount of that are pure white and lacking in sensor to an LCD or EVF. It is also
light that passes through the lens. detail due to overexposure. known as a mirrorless camera.

Aperture Priority A semiautomatic camera shake Softness in a photo depth of field The area of
exposure mode, in which you select that is caused by moving the camera acceptable sharpness in a photo.
the aperture. during an exposure. Depth of field extends from the focus
point and is controlled by adjusting
APS-C (Advanced Photo System center-weighted metering the size of the lens aperture.
type-C) A digital sensor, about A camera metering mode that
23.6 x 15.8mm in size, that is used biases exposure to a large central distortion The warping of an image
in most DSLRs and CSCs. area of the image frame. by the optics of a lens, particularly
noticeable in geometrical subjects.
aspect ratio A description of the chromatic aberration Colored
shape of an image, shown as the fringing visible along high-contrast dodging A postproduction digital
ratio between the horizontal and edges in a photo, caused by a lens adjustment that makes an image, or
vertical dimensions. being unable to focus the different part of an image, look lighter.
wavelengths of light to one point.
autofocus (AF) A system that uses drive mode A mode in which you
sensors to assess the subject and color temperature An indicator set the number of photos a camera
focus the camera lens automatically. of how red- or blue-biased light is, will shoot when the shutter is
measured in Kelvin. pressed and held down, or when
AWB (Automatic White Balance) the self-timer is activated.
A White Balance setting in which Continuous AF An autofocus (AF)
the camera assesses the color bias mode in which the focus distance dynamic range A ratio of intensity
of the lighting and automatically is continuously adjusted by the lens between the darkest and brightest
calculates the White Balance. until the moment of exposure. tones that can be captured by a digital
sensor without significant noise.
bokeh The aesthetic qualities continuous shooting A drive
of out-of-focus areas of a photo. mode that makes it possible to shoot EVF (Electronic Viewfinder)
Derived from a Japanese word a sequence of consecutive photos by A viewfinder that uses a miniature
for haze. holding down the shutter button. LCD to display a live image streamed
directly from the sensor or a
bracketing The shooting of a contrast The difference in previously shot photo in playback.
sequence of two or more photos, brightness between the darkest
varying a specific setting such as the and lightest areas of a scene or exposure The aperture, shutter
exposure in each one, to find the photo. Contrast can also be used speed, and ISO settings necessary
best shot. to describe differences in color to take a photo. It also refers to
or texture. the physical act of taking a photo.

GLOSSARY 183

exposure compensation matches the traditional size of a JPEG (Joint Photographic Expert
An adjustment of the base exposure 35mm film frame; approximately Group) One of the most popular
initially set by the camera, usually in 36mm x 24mm. file formats for recording and saving
1/3, 1/2, or 1 EV increments. Negative digital photographs.
exposure compensation darkens an fully automatic A shooting
image, and positive lightens it. mode in which most of the camera’s Kelvin A scale in which the color
functions are set automatically, giving temperature of light can be measured.
f/stop (f/number) A term used to the photographer limited control.
refer to the size of the aperture in a keyword A word or phrase added
lens. It is expressed as a fraction of geo-tag Digital information in to the metadata of a photo that
the focal length: f/4, f/11, f/22, etc. a photo about its location that is describes an aspect of that photo.
entered either when it was shot, Keywords can be searched for in
filter (physical) A piece of glass, or later in postproduction. DAM software.
plastic, or optical resin that is
attached to a lens to filter the light global correction An adjustment kit lens An inexpensive lens, usually
that passes through it. The effect is that is made across an entire photo. a zoom, that is commonly sold as a
duplicated in the resulting image. package with a DSLR or CSC.
graduated ND filter A filter, often
filter (digital) An image-editing used when shooting landscape that landscape (format) An image
effect that emulates a physical filter has a semiopaque half and a clear format in which the longest sides
and alters either the entire image or half, to balance the exposure across of the rectangle are horizontal
a selected part of it. a photo. (as opposed to portrait format).

focal length The distance (in highlights The brightest parts of layer An element that can be set
millimeters) from the optical center a scene or photograph. on an image in postproduction, to
of a lens to the focal plane when which adjustments or changes can
the lens is focused on infinity. Focal histogram A graph showing the be made.
length, together with the size of the relative spread of tones in an image.
camera’s digital sensor, determines layer mask A part of a layer that
a lens’s angle of view. hot shoe A connection found on is used to limit an adjustment to
the top of most DSLRs and some a specific area of an image.
focus To adjust lens optics to ensure CSCs, to which an external flash
that a sharp image is produced on or remote trigger can be attached. LCD (Liquid Crystal Display)
the camera’s sensor. Display technology used in EVFs
ICC profile Data that specifies the and rear camera screens.
flash An electronic device that range of colors that a digital device,
emits a brief but intense burst such as a monitor or printer, can lens An assembly of glass or plastic
of light. produce to ensure that the color is optical elements used to focus light
consistent across different devices. onto the camera’s sensor.
frame A single photographic image.
Also, a surround of wood, plastic, or incident-light metering The lens elements The shaped pieces
metal made to display a print. measurement of the amount of light of glass in a lens that focus light.
falling onto a subject, usually taken
frame rate The number of with a handheld light meter. light meter A tool used to measure
photos that a camera can shoot the brightness of light, making it
every second in Continuous Drive infinity The farthest point from the possible to determine which camera
mode. It is also referred to as camera on which the lens can focus. settings to use. All cameras have a
frames per second (fps). built-in light meter.
ISO A numerical value that specifies
front element The part of the how sensitive a sensor is to light. line-of-sight Unobstructed visibility
lens exposed to the scene. Higher ISO values make it possible to between the photographer and
use faster shutter speeds or smaller camera and a subject, or between
full-frame A sensor size that apertures at the expense of noise. a master and a slave flash.

184 G L O S S A R Y

local correction An adjustment ND (neutral-density) filter plane of focus An imagined
applied to a specific part of a photo. A semiopaque filter that reduces horizontal plane perpendicular to a
the intensity of light passing through lens in which everything is in focus.
low-dispersion glass A type of it, allowing either a longer shutter
glass used in lenses that is designed speed or a larger aperture than playback The viewing of photos
to minimize chromatic aberration. would otherwise be possible. from the camera’s memory card.

macro A photographic technique noise A random grain pattern that polarizing filter A filter that is
in which subjects are shot at a 1x reduces fine detail in a photo. mainly used to reduce reflections
magnification or higher. from non-metallic surfaces, or to
noise reduction A technique deepen the blue of the sky.
Manual An exposure mode in that is used to reduce or remove
which both the shutter speed and the appearance of noise in a photo. portrait A photo in which the
aperture are set by the photographer. This can either be set in-camera main subject is a single person or
before shooting or can be done animal, or a small group of people
manual focus (MF) A focusing later in postproduction. or animals. It is also used to
mode in which the photographer describe the format of a photo
physically turns the focus ring on non-proprietary Camera in which the longest sides of
a lens to achieve sharp focus. equipment that is not licensed the rectangle are vertical.
with a particular brand.
memory card A removable storage postproduction Refers to any task
device used in digital cameras. The opacity A measure of how or adjustment carried out on a photo
most common type is an SD card. transparent a layer is. It can after shooting. Postproduction can
be adjusted in postproduction. be done in-camera on some models,
metadata Information that is but is usually handled with image-
embedded in a digital file, such as optical viewfinder A type of editing software on a computer.
a photo, and which describes a viewfinder that shows the subject
particular aspect of the file. Settings, through an optical system, rather prime lens A fixed-focal-length lens.
such as aperture and shutter speed, than via an LCD screen. A range of lengths are available.
are examples of metadata that are
automatically added to a photo orientation The angle at which Program An automatic exposure
by a camera. a camera is held when shooting. mode in which the camera sets the
aperture and shutter speed, but
metering The measurement overexposure The result of letting you can control the exposure.
of ambient light levels, so that too much light reach the sensor
the right exposure settings can during an exposure, producing an Raw An image file format that
be selected on a camera. image with burned-out highlights retains all the data captured by the
and shadows that are too light. camera at the time of the exposure.
midtone A tone exactly halfway
between black and white, with an perspective The illusion of depth red-eye An effect created when
18% reflectivity. in a photo, suggested by how the light (usually from a direct flash)
various elements relate to each other. reflects off the blood vessels at the
monochrome An alternative term It depends on the photographer's back of the subject’s eyes, making
for black and white, or for a photo position in relation to the scene and their pupils look red in the photo.
with a restricted range of colors. the focal length of the lens used.
reflective metering The
multi-area metering A camera’s pixel Short for picture element; the measurement of how much
default exposure metering mode, this smallest unit of image information light is reflected from a scene.
divides each scene into zones, each in a photo or on a monitor.
of which is metered independently. reflector A sheet of material
The camera determines the final pixelated The effect created in a (normally white, silver, or gold) that is
exposure by analyzing and evaluating digital image when the individual used to redirect light into the darker
the exposure reading of each zone. pixels are clearly visible. areas of a subject to lower the contrast.

GLOSSARY 185

remote release A cable or infrared sync speed The fastest shutter wide-angle lens A lens with an
accessory that fires a camera’s shutter speed that can be used when a angle of view greater than 65 degrees.
without you having to physically flash is attached to the camera.
press the shutter button. zoom lens A type of lens with
telephoto lens A lens with a a variable focal length.
resolution (digital image) The long focal length.
number of pixels per inch (ppi) or,
in the case of a print, the number tone The brightness of a pixel
of dots per inch (dpi). or area of a photo.

resolution (lens) The amount of tonal range The full range of
detail a lens can record. brightness levels found across the
photo, from pure black to pure white.
RGB (Red, Green, Blue) The three
primary colors of digital cameras and TTL (through-the-lens) A term
monitors. used to describe automated flash-
metering systems in which the flash
saturation The intensity of a color. exposure is set by the camera rather
than by the flash.
shutter A light-proof curtain in front
of a sensor that is opened and closed underexposure The result of letting
during an exposure. too little light reach the sensor during
an exposure, producing an image that
shutter speed The length of time is too dark and that lacks detail in
selected for the shutter to be open. areas of shadow.

Shutter Priority A semiautomatic USB (Universal Serial Bus)
exposure mode in which the shutter A standard data connection used
speed is set by the photographer. to link digital devices.

SLR (Single-Lens Reflex) A camera ultraviolet (UV) filter A filter that
system that uses a reflex mirror to reduces the effects of ultraviolet light.
direct the image projected by the It has no effect on exposure and is
lens to an optical viewfinder. commonly used to protect the front
of a lens.
spirit level A device inside a camera
that can be used to ensure whether viewfinder An optical or electronic
an image will be horizontal or vertical. device that shows a photographer the
Spirit levels can be added to a camera scene that will be captured by the
via a hot shoe, or to a tripod. camera during exposure.

spot metering An exposure- vignetting A darkening of the
metering mode in which only a corners of an image that is either
small area of the scene is measured. accidental, such as when using a lens
at maximum aperture, or is applied
standard lens A 50mm lens deliberately in postproduction.
(full-frame) or 35mm lens (APS-C).
Also known as a normal lens, it weather sealing Built-in protection
produces naturalistic imagery that that shields the camera from rain,
closely matches human vision. dust, or humidity.

stop A unit in which aperture White Balance (WB) A camera
sizes, shutter speeds, and ISO function that neutralizes the color
settings are measured. bias of a light source in a scene.

186 I N D E X

INDEX Aperture Priority mode 52–53 B C
adapted lenses 108
A applying 56–57 back-button focusing 84–85 camera settings 10
concert photography 70 background camera shake 28, 52, 100, 114
abstract effects creating blur 124 camera phones 14
extreme blur 125 depth of field 56–57, 90 darkening 143 cameras
ICM 62, 63 extension tubes 114 simplifying 38–39
flash color 152 backing up 156, 178 CSCs 20–21
action shots 60–61 prefocus 66 backlit subjects 136, 137 from capture to storage
see also concerts; selective focus 58–59 ball-and-socket tripod heads
sports photography; slow sync flash 138 16–17
street photography; street photography 102 29 SLRs 18–19
wildlife photography wide-angle lenses 100 barrel distortion 95, 100, 162, types of 14–15
Canon lenses 97, 98, 107
acutance 164 APS-C cameras/lenses 96–97, 163 infinity focus 66
adapted lenses 108–109 98 base ISO 51 capacitor 135
adapter rings 120 battery life 21 captions 109, 178
Adjustment Brush (Lightroom) architectural shots Bayer filter 16 Cartier-Bresson, Henri 103
speciality lenses 106 beauty dishes 27, 148 catadioptric lenses 107
158 tall buildings 110–111 behavior, anticipating 102 cataloging images 178–179
adjustment layers 172–173 bilateral symmetry 38 center-weighted metering 69
Adobe Lightroom 156, 158 artificial lighting black-and-white photography channels, wireless flash 149
gels for 152, 153 children 80
159, 162, 164, 168, WB settings 45, 152 166–167 chromatic aberration 95
170–171 toning 168 reducing 23
Adobe Photoshop 116, 117, aspect ratio 65, 157, 170 blending multiple photos removing 163
156, 158, 160, 170–171, aspherical lenses 95 cleaning
172, 174, 175 astronomical photography 74–75 lenses 23
advanced compact cameras 14 blower brushes 23 sensors 159
Advanced Photo System type 107 Blue channel 176 Clone tool 159, 170
C see APS-C cameras atmospheric conditions 67 blue filters 167 close-up lenses 113
AEB see Automatic Exposure Auto AF 81 blur cloud storage 156
Bracketing Auto Crop 171 CMYK colors 40
AF see autofocus Auto ISO 54, 60, 102 creating 120, 122, 123, coatings, lens 95
AF-ON 84 Auto selection AF point 83 124–125, 138, 139 color
“aging” 169 Auto White Balance (AWB) 45, adjusting 176–177
all-in-one cameras 14–15 creative use of 165 altering flash 152–153
ambiguity 103, 165 125 blur filter 175 average reflectivity 68
analogous colors 41 Auto-Blend Layers 117 bokeh 105 composition 38–39
angle of view 96–97, 98, 99 autofocus (AF) bounce cards 141 effects 45
wide 104, 105 bounce flash 136, 140, 141 and emotion 46, 47
zoom flash 149 assist light 136 bounce head 24 and gels 140, 152–153
animals see wildlife autofocus modes 80–81, 82 Boundary warp value 171 harmonies 40–41
photography autofocus points 56, 79, 80, bracketing 55, 67 monochromatic 41, 166
aperture Brenizer, Ryan 104 partnerships 41
action shots 60 82–83, 87 Brenizer method 52, 104–105 printing paper 180
adapted lenses 108 autofocus systems 78–79, split toning 168–169
and exposure 50, 51 stitching together 170 temperature 44–45
and flash 134, 136, 142, 80 bridge cameras 15 using complementary colors
144–145, 152 calibrating 81 brightness, relative 176
landscape photography 56 problems 83, 86, 88 brush size 160 42–43
panoramic sequences 64 sensors 82 brush tool 174 color balance 152, 153
visible dust 159 Automate 116 buffer memory 17, 60, 84 color bias 44, 45
aperture blades 105 automated modes 53 buildings, tall 110–111 color cast 125
Automatic Exposure Bracketing built-in flash 24, 136–137 color channels 176, 177
Bulb mode 52–53, 124
(AEB) 55
automatic flash metering 146 shooting star trails 66–67
Automatic White Balance see Burn tool 160–161
burning 158, 160–161
AWB burned-out 147
average reflectivity 68
AWB see Auto White Balance
axial aberrations 95

INDEX 187

color filters 120 setting White Balance for autofocus 78, 81, 82 Exposure Compensation 52,
color saturation 130 46–47 manual focus 86–87 55, 70
color settings 30 dust removal systems 159
color temperature 44–45, 46, slow sync flash 138 dynamic range 16, 17 exposure control filters 121,
using ICM 63 122–123
140, 152, 157 creative exposure 72–73 E
color wheel 40–41, 42, 167 creator, assigning 178 exposure lock 70, 71, 84
compact cameras 14 critical focus 114 editing, non-destructive 156 exposure meters 68–69, 144
compact system cameras crop factor 16, 98 editing software 160, 164 extension tubes 113, 114–115
cropping 157, 163, 170, 171 external flash 24, 25, 136, 137,
(CSCs) 15, 20–21 cross processing 176–177 layers 172
autofocus 78, 79 cross screen filters 129 using 158–159 140–141
manual focus 86–87 cross-type AF sensors 82 effects filters 121, 128–129 external hard drives 156
complementary colors 41, CSCs see compact system electronic viewfinder see EVF extreme ND filters 123, 124
equipment 12–31 eyes
42–43, 168 cameras camera support 28–29
composition 32–47 curtain sync, 1st and 2nd 139 cameras 14–21 portraits 58
Curve tool 176–177 file formats 30–31 red-eye reduction 136
breaking rules of 37, 39 curved lines 36 lenses 22–23
color harmonies 40–41 custom control menu 84 light modifiers 26–27 F
color temperature 44–45 Custom White Balance 45, 125 lighting 24–25
complementary colors 42–43 Cylindrical projection 171 evaluative metering 69 f-stop 51, 122, 123, 151
decisive moment 103 EVF 15, 20, 21 files
guidelines 36–39 D EXIF metadata 109, 178
selective focus 58–59 exporting 157 formats 30–31
White Balance 46–47 DAM see digital asset exposure 48–75 naming 179
compression, JPEG 30 management action shots 60–61 fill light 134, 150
concerts, photography at adjustment layers 172 fill-in light 136
darkening 160–161 adjustments 157 filter factor 123
70–71 decisive moment 103 Aperture Priority mode filter holders 120
Constrain Crop 163 Defringe 163 filter threads 94, 120, 121
consumer CSCs 20 depth of field 51, 56–57 56–57 filters 118–131
consumer DSLRs 18 balancing different amounts black-and-white
Continuous AF 80, 81, 84–85 Brenizer method 104–105
Continuous Drive mode 55, flash 145 of light 126–127 photography 166, 167
lack of 116 circle 51 colored 167
60, 66, 67, 84, 103 maximizing 90–91, 100 controlling 50 effects 128–129
continuous lighting 25 minimizing 104, 114, 115, creative 72–73 exposure control 122–123
continuous shooting 31, 60 fine-tuning 54–55 graduated ND 126–127
contrast 165 and flash 144 polarizing 130–131
selective focus 58, 59 intentional camera stacking 121
adjustment layers 172 Develop module 171 strength 123
adjustments 157 diagonal lines 36 movement 62–63 10-stop ND 124–125
black-and-white diffraction 56, 91, 117 metadata 109 types of 120–121
diffusers 26, 136, 141 metering 68–71 fisheye lenses 22, 23, 106
photography 166 digital asset management modes 52–53 flange focal distance 109
cross processing 176 multiple 74–75 flash 132–153
printing paper 180 178–179 panoramic images 64–65 built-in 136–137
two light sources 150, 151 digital image processors 17 selective focus 58–59 distance from subject 135,
contrast-detection AF 79 digital sensors 16, 79 settings 10
converging verticals 110, 111 diopters 113 shooting at a concert 70–71 144
cool colors 40, 42, 43, 47, 168 direct flash 141 shooting star trails 66–67 duration 144
copyright 178 distortion 95, 162 Shutter Priority mode 60–63 effects 140–141
cords, TTL 148 Dodge tool 160–161 Exposure adjustment 157 exposure 134, 136, 152
corrections dodging 158, 160–161 exposure calculator apps 124 external 140–141
global and local 158 drive modes 89 gels 152–153
see also image enhancement; DSLR cameras 15, 18–19 high speed sync 142–143
and ISO 147
postproduction
creative effects

blur 165
flash effects 140–141

188 I N D E X

lighting equipment 24–25 front element 94, 110, 113, honeycomb grids 27 input sharpening 164
in low light 138–139 120 horizontal sensors 82 inspiration, finding 37
manual 146–147 “hot” pixels 63 intentional camera
manual exposure 144–145 frontal lighting 136, 137 hot shoes 24, 25, 142, 143
master and slave 149 full-frame cameras/lenses HSS see High Speed Sync movement (ICM) 62–63
multiple 150–151 Hue slider 163, 168, 169 inverse square law 135
power 135 96–97, 98, 99 hyperfocal distance 90–91, 110 IPTC metadata 109, 178
range of 142, 144 Fully Automatic (Auto) 53 ISO
slow sync 138–139 I
techniques 140 G Auto ISO 54, 70
TTL cords 143 ICM see intentional camera and exposure 50, 51
wireless 148–149 gels, and flash 140, 152–153 movement and flash 134, 136, 144–145,
zoom 149 geo-tagging 156
Flash exposure compensation Gimp 172 image circle 98 147, 152
glass, transparency 130 image contrast 79 and ICM 62
134, 136 global correction 158 image enhancement 154–181 performance 16
flash head 134 gloss paper 181
flash power 134, 135 golden hour 57 adjustments 157 J
Graduated filter (Lightroom) black-and-white photography
manual exposure flash Joint Photographic Expert
144–145 158 166–167 Group see JPEG
graduated filters 123 blending photos 74, 75
manually setting 146–147 Brenizer and panoramic JPEG
flash recycling time 135, 145 colored 128 compression 30
Flatten Image 175 graduated ND filters 123, photos 170–171 continuous shooting 60
floating elements 95 changing tones 168–169 data capture 16
fluorescent lights 25, 153 126–127 correcting subtle flaws importing and storing 156
focal length 96–99 soft and hard 127 panoramic shots 64–65
Green channel 176 162–163 sharpening 164
long 38, 58, 96 green filters 167 cross processing 176–177 vs. Raw 30–31
focal plane 96 gray cards 68, 126 digital asset management
focus lock 81 grids K
focus peaking 87, 108 cameras 36 178–179
focus point 56, 59, 85, 86, 116, light modifiers 27 dust removal 159 Kelvin (K) scale/value 44, 45,
groups of people 54–55 editing software 158–159 46, 152, 157
117, 143 Guide Number (GN) 134 layer masks 174–175
focus ring 94, 108 layers 172–173 key light 140, 150
focus stacking 56, 116–117 H lens correction 162–163 keywords 109, 156, 179
focusing 76–91 lightening and darkening kit lenses 22
halo effect 164
in advance 88–89 hard drives, external 156 160–161 L
autofocus 78–85 Hardness slider 160 postproduction software 156
back-button 84–85 HDR see high dynamic range printing 180–181 landscape format 35
extension tubes 114–115 Healing Brush 159 sharpening 164–165 landscape photography
focus stacking 116–117 Helicon Focus 117 suggested workflow 156–157
hyperfocal distance 90–91 high dynamic range (HDR) 72, image file formats 30–31 Aperture Priority mode
infinity focus 66 image format 35 56–57
manual 86–89 73 image management 178–179
focusing distance 112 High Speed Sync flash 25, 135, image noise 51 autofocus modes 80
folders 178, 179 image sensors 16 balancing different amounts
format, changing 101 142–143 image-stabilization systems
frame rate 18, 19, 21 high-key exposure 72 of light in 126–127
frames highlights 72, 73, 161, 176 28, 94, 113 black-and-white 167
exploiting natural 36–37 importing 156 JPEG vs. Raw 31
filling 38–39 burned-out 147 incandescent lights 25 sensor dust 159
framing 34 split toning 168–169 incident metering 68
freezing movement 138, 140, histograms 146 infinity focus 66, 109, 114
infrared filters 129
144 ink, density of 180
fringing 95, 105, 163

INDEX 189

Lasso 175 landscape photography manual focus 86 N
layer clip 173 56–57 magnification
layer masks 172, 173, 174–175 naming system 179
layers 75, 117, 172–175 and shade 140 and editing 164 ND filters 52, 56, 62, 121,
width of 149 extension tubes 115
flattening 170 see also filters; flash and focus 87 122–123, 124, 136
layers palette 173 light meters 68–69 macro lenses 112 negatives, storing 178
layout choices 170–171 light modifiers 26–27 manual exposure 146, 150 neutral-density filters see ND
LCD screens 15, 19, 20 light sources, two 150–151, manual exposure flash 134,
LED lighting 25 filters
Leica lenses 107 152–153 144–145, 146 Nikon lenses 97, 98, 107
lens adapters 21 light stands 148 manual flash 25, 144, 146–147
lens correction 95, 162–163 lightening 160–161 manual focus (MF) 78, 86–89, infinity focus 66
lens distance scales 66 lighting 24–25 No Flash mode 136
lens elements 105 90, 104, 116, 124 noise
lenses 92–117 fine-tuning exposure 54 Manual mode 52–53, 104,
frontal 137 and flash 145
adapted 108–109 lighting ratios 150, 151 124, 126, 142, 146, 150 reduction options 63
autofocus 78–83 Lightroom see Adobe multiple flash 150 Northern Hemisphere stars 66,
calibrating 78, 81 panoramic sequences 64
cleaning 23 Lightroom manual-focus lenses 107 67
concert photography 70 line-of-sight 137, 148 masking 164–165
extension tubes 114–115 lines master flashes 149 O
features 94 matrix metering 69
focal length 96–99 bowed 163 matte paper 181 off-camera flash 141
focus stacking 116–117 converging verticals 110, 111 Media Type 180 off-camera trigger 137
and ICM 62 diagonal 36 memory cards 17 Olympus lenses 107
lens correction 95, 162–163 distortion 95 metadata 109, 162, 178 on-sensor phase detection 79
macro 112–113 to draw viewer in 36–37, 100, metering modes 10, 69 opacity 176
manual-focus 107 meters open-source software 158
optical problems 95 101 exposure 68–69, 134 optical problems 95
panoramic sequences 64 Liquid Crystal Display see spot meters 70–71 optical viewfinders 18, 19, 21,
selective focus 58 midtones 68, 70, 72, 73
speciality 106–107 LCD screens Minolta lenses 107 87, 123
standard 102–103 live view 19, 78 mirror lenses 105, 107 optical wireless flash 137, 148
star trails 66 Live View magnification 87 mirror lockup function 159 optical zoom 104
street photography 102–103 local correction 158 mirrorless cameras 15, 20–21 orientation 18, 29, 36, 82, 157
technology 95 locations, street photography moiré 164 out-of-focus
telephoto 104–105 monochromatic colors 41,
tilt-shift 110–111 102 bokeh 105
types of 22–23, 97 Lock Focus 104 166, 167 deliberate 165
visible dust 159 long exposure the moon, photographing 67 output sharpening 164
wide-angle 100–101 motion blur 61 overexposure 50
working distance 113 noise 63 movement overlapping shots 64–65
Library module 171 star trails 66
life-size images 12 low contrast, and AF 83 action shots 60–61 P
light low dynamic range 72 and AF 83
balancing different amounts low light, and AF 83 and Continuous autofocus paintings 37
low shutter speeds 28 pan-and-tilt tripod heads 29
of 126–127 low-dispersion glass 95 85 panning 61, 62, 64–65, 104
color bias 44, 45 low-key exposure 72 creating blur 120, 122, 123, panning bases 64
exposure metering 68–69 luster paper 181 panoramic sequences
frontal 137 124–125, 138, 139
golden hour 57 M freezing 140, 144 aspect ratio 65
high levels of contrast 70 intentional camera stitched-together 64–65, 171
inverse square law 135 macro lenses 23, 112–113 paper, type of 180, 181
macro photography movement 62–63
motion blur 61
autofocus modes 80, 81 multi-area metering 69, 70
macro lenses 112–113 multi-segment metering 69
macro options 113 multiple exposure 74–75
multiple flash 150–151

190 I N D E X

pentaprism 18 lightening and darkening reducing 128, 130–131 Shutter Priority mode 52–53
perspective 99 160–161 street photography 102, 103 action shots 60–61
reflective metering 68 ICM 62
correction tools 110 metadata 109 reflectivity 72 street photography 102
Perspective projection 171 printing 180–181 reflectors 27, 140
Petzval lenses 105, 107 sharpening 164–165 reflex mirrors 78 shutter speed
phase-detection AF 78, 79, 81, software 129, 156 remote release 66, 124, 138 action shots 60
suggested workflow 156–157 Remove Chromatic Aberration built-in flash 136, 137
82, 87 pre-flash 134 exposure 50, 51
on-sensor 79 prefocus 88–89 tool 163 exposure control filters 122,
photodetectors 16, 17 primary colors 40 resolution 123, 124
Photomerge 116, 170, 171 prime lenses 22, 66 High Speed Sync flash
Photoshop see Adobe print size 180 digital image 16, 30, 64, 157, 142–143
printing 157, 180–181 170, 180 ICM 62
Photoshop pro-spec lenses 23 landscape photography 56
pincushion distortion 95, 162 professional CSCs 20, 21 lens 91, 95, 110 panoramic sequences 64
pixels 72 professional DSLRs 18, 19 RGB colors 40, 176–177 slow sync flash 138
Program mode 46, 52–53, 54, ring lights 25 sync speed 135
blend modes 75 rotating 157
colors 40 136 Rule of Thirds 36–37 shutter sync 138
“hot” 63 Program Shift 54, 62 rules of composition, breaking side-lighting 137, 140, 141
plane of focus 110 projection methods 170–171 Sigma Octantis 66
plug-ins, software 158 proprietary flash 25 37, 39 simultaneous contrast 42
Polaris (North Star) 66, 67 Protect Tones 160 Single Drive mode 89
polarizing filters 121, 128, PSD files 170 S single lens reflex (SLR) cameras

130–131 Q saturation 130 18–19
portrait format 35 Saturation slider 168, 169 Single point AF 56, 59, 83
portraits Quick Mask 175 Scene modes 53 Single-shot AF 80, 81
screw-on filters 120 sky
autofocus modes 80, 81 R SD cards 17
black-and-white 167 SDXC cards 17 colored filters 167
center-weighted metering 69 radial symmetry 38 secondary colors 40 graduated ND filters 127
colored filters 167 radio wireless flash 148 selective focus 58–59 metering from 126
JPEG vs. Raw 31 Radius slider 164 Self-timer mode 89 polarizing filters 131
multiple flash 150, 151 Raw sensor dust 159 skylight filters 128
romantic 107 sensor size 98 slave flashes 149
selective focus 58 and continuous shooting 60 sensors, cleaning 159 Slow sync flash 137, 138–139
postproduction conversion software 30 sepia 169 Slow Sync Mode 138
adjustments 157 exporting 157 settings 10 SLR see single lens reflex
black-and-white fine-tuning exposure 54 shadows 72, 73, 161, 176
image data 16 cameras
photography 166–167 image enhancement 156 frontal lighting 137, 141 snoots 27
blending photos 74, 75 panoramic shots 64 side lighting 140, 141 social events
Brenizer and panoramic sharpening 164 split toning 168–169
vs. JPEG 30–31 Shadows/Highlights tool 161 exposure 54
shots 170–171 read/write speed 17 sharpening 164–165, 180 JPEG vs. Raw 31
changing tones 168–169 Rectangular Marquee 175 adjustments 157 manual flash 144
correcting subtle flaws Red channel 176–177 Sharpness tool 164 soft images 164
red filters 167 shift lenses 110–111 soft proofing 180
162–163 red-eye reduction 136 shooting modes 10 soft-focus filters 121, 128
cross processing 176–177 reflections shots, number of 74 softboxes 26, 148
digital asset management shutter 16, 51 software
shutter button DAM 178, 179
178–179 autofocus 84 editing 158, 160, 164, 172
dust removal 159 exposure lock 71 plug-ins 158
editing software 158–159 postproduction 129, 156
effects 129 Raw conversion 30
focus stacking 116–117 stacking 117
HDR 73
layer masks 174–175
layers 172–173
lens correction 162–163

INDEX 191

solarization 176 10-stop filters 124–125 VX
Southern Hemisphere stars tethered capture 156
texture variable ND filters 122 xenon gas 134
66 vertical sensors 82 XQD cards 17
speciality lenses 23, 106–107 and AF 83 verticals, converging 110, 111
speedlite 140 looking for 38–39 viewfinders see EVF; optical Y
Spherical projection 171 through-the-lens see TTL
spirit levels 29, 110 TIFF 170, 174, 175 viewfinders yellow filters 167
split toning 166, 168–169 tilt-shift lenses 23, 106, viewpoints
sports photography Z
110–111 action shots 60
action shots 60–61 timed delay 89 choosing 35
autofocus modes 80 tonal inversion 176 street photography 102
JPEG vs. Raw 31 tonal range 50, 72, 168 vignetting 95, 97, 98, 121,
mirror lenses 107
Shutter Priority mode 52, filters 121 162, 163
image enhancement 160 visibility, improving 130–131
60–61 Tone tool 168
speciality lenses 106, 107 toning, split 168–169 W Zerene Stacker 117
spot metering 69, 70–71, transitional zone 127 Zone selection AF point 83
transparencies, storing 178 warm colors 40, 42, 43, 47, zoom flash 149
126 transparency 130 168 zoom lenses 14
Stack Images 117 transverse chromatic
stacking filters 121 water, transparency 130 distortion 95
stacking software 117 aberration 95 watermarks 179
standard lenses 102–103 travel photographs, JPEG vs. WB see White Balance
star trails 66–67 weather sealing 18, 21, 22, 23
star(burst) filters 121, 129 Raw 31 White Balance (WB) 38, 42, 44,
still life shots 80 triadic colors 41
stitching together triggers, flash 148, 159 45
tripod heads 29 adjustments 157
Brenizer method 104–105, tripods 28–29 Brenizer method 104
170 fine-tuning exposure 54
extension tubes 114 and flash color 152
panoramic shots 64–65, 171 focus stacking 116 matching two different light
street photography 102–103, landscape photography 56
panoramic sequences sources 152, 153
107 metadata 109
strobe 140 64–65 setting for creative effect
studio lights 25 polarizing filters 130
studio photography, autofocus slow sync flash 138 46–47
wide-angled lenses 100 settings 10, 45
modes 81 TTL cords 143, 148 Wi-Fi control 15
the sun, shooting toward 126 TTL flash mode 134, 136, 144, wide-angle lenses 22
sunrise 57 distortion 95
sunset 57 146 effective use 100–101
superzoom lenses 22 tungsten lights 25, 153 filters 121
support 28–29 Tungsten WB setting 45, 152 fisheye lenses 106
surface glare 130, 131 twilight 138 perspective 99
sweeping shots 64–65 wildlife photography 85
symmetry, exploring 38–39 U autofocus modes 80, 81, 85
sync speed 135, 136 mirror lenses 107
system cameras 14, 15 ultrasonic-motor lenses 79 Shutter Priority mode 52
ultraviolet filters see UV filters Wi-Fi control 15
T underexposure 50 wireless flash 24, 136, 137,
Universal Serial Bus see USB
tall buildings 110–111 upgrading 15 148–149
telephoto lenses 22, 104–105 USB cables 156 working distance 113
UV filters 22, 128, 130
perspective 99

192 A C K N O W L E D G M E N T S

ACKNOWLEDGMENTS

DK would like to thank:

Heather Hughes, Thomas Morse, Kate Taylor, and Samuel Kennedy for editorial assistance; Helen Peters for indexing; Dhirendra Singh
for design assistance; Chauney Dunford for proofreading; and Tania Taylor for extra assistance. Many thanks also to our models: Arianna
Cavalenci, Mark Cavanagh, Samuel Kennedy, Zoë Rutland, Kaiya Shang, Julie Steward, and Breda Streeter. For their kind permission to
photograph we’re very grateful to: Yorkshire Sculpture Park, Denbigh School in Milton Keynes, and the Design Museum, London.

The publisher would like to thank the Neil Setchfield (bc); Stelios Michael (crb). com: ermess (cr, br) 82 500px: Christoph Malkovstock (cr). 154-155 Getty
following for their kind permission to 500px: Mohammed Al Sulaili (ca); Aleš Oberschneider (b). David Taylor: (tr). Images: Michael Honor. 156 Dean
reproduce their photographs: Krivec (cra). 36 Alamy Stock Photo: 83 500px: Matej Kastelic (ca); Jit Lim (cra); Digital Imaging / Floyd Dean.
Antony Ratcliffe (br). 500px: Lauri Lohi (c). 157 iStockphoto.com: alexabelov
(Key: a-above; b-below/bottom; iStockphoto.com: Bluejayphoto (cr); Gunnar Helliesen (bc); Peter Gowdy (br). (crb, fcrb); Merlas (cr, fcr); RichVintage
c-center; f-far; l-left; r-right; t-top) Woottigon (crb). 37 500px: Mark Umbrella David Taylor: (cla, fbl, bl). 85 Getty (tr, ftr); Jrleyland (br, fbr); Serg Velusceac
(c); Kittiwut Chuamrassamee (br); Sven Images: Barcroft Images / Ingo Gerlach (cra, fcra). 158 David Taylor. 159 David
2 David Taylor: (cr). 3 iStockphoto. Kluegl (cb); Ronald Diel (crb); Peter Moorey (tr). Matthew Kane, Taylor. 160-161 iStockphoto.com:
com: WildLivingArts (cl); 500px: Alex (cr). iStockphoto.com: Dgedj (bl); wwwmatthewjakekane.com/ Paul Bradbury. 162-163 David Taylor:
North (cr). 4-5 500px: Lisaelle. 6 500px: Icarmen13 (cl); Kapook2981 (clb); wnjay_ photography: on Unsplash (tc). (all). 164-165 iStockphoto.com:
劼 肖 (tc); Hande Aydıngün (tl). Matthew wootthisak (bc). 38 500px: Cvetelina 86 500px: Akihiko Endo (b). 87 David NickolayV (cathedral). 165 iStockphoto.
Kane, www.matthewjakekane.com/ Yurukova (tr); Pazargic Liviu (cra); Chen Taylor: (all). 89 iStockphoto.com: com: Prasit Chansarekorn (tr); Xesai (tc).
photography: on Unsplash (tr). 7 500px: Chan (cr); Ryan Belote (crb); Alex North (br). iphotojr (tr). 92-93 iStockphoto.com: 166 iStockphoto.com: JacobH (b).
Yoshitada Kurozumi (tl); Sue Hsu (tc). 39 500px: Daniel Cole (tl); Mike Clegg (cr); aLittleSilhouetto. 94 Courtesy of Nikon. 167 iStockphoto.com: gehringj (c);
8 123RF.com: Pius Lee (tl). Alamy Stock Gable Denims (tr); Maxime Riendeau (cla); 95 500px: Alberevi (cb). David Taylor: pixelfusion3d (r). 168 Alamy Stock Photo:
Photo: John Bentley (cl). 500px: Mark Jozef Polc (cra); Alfon No (c); Benjeev (ca, c). 96-97 David Taylor: (all). Cultura RM (all). 169 123RF.com: Denis
Bridger (ca); Chen Chan (cb); Rafał Rendhava (clb); Aleksandr Naumenko (br). 98 500px: Sarawut Intarob (b). 99 David Tabler (tc, tr). Alamy Stock Photo: Cultura
Kwiatkowski (bl); Hero Images (cra). iStockphoto.com: Instants (tc); Taylor: (all). 100 500px: Alberevi (bl). RM (b, ca). 174-175 David Taylor: (all).
11 500px: Mark Bridger (cl); Fabio Davini SunnySashka (ca); Kavalenkava Volha (cl); 105 500px: Steyaert Didier (tc). 176-177 iStockphoto.com: urbancow
(fcl); Alena Haurylik (fcla). iStockphoto. Petesaloutos (cb); Powerofforever (bc). iStockphoto.com: Zolnierek (tr). (girl). 176 Getty Images: Barcroft Media
com: urbancow (crb/girl space hooper); David Taylor: (crb, bl). 40 500px: Daria 106 © Canon: (clb). 500px: Sebastian (clb, bl). 178-179 David Taylor: (all).
WildLivingArts (fcra, cra). David Taylor: Garnik (bl); Dmytro Koro (fbl); Alex Altruist Warneke (cl); Gable Denims (cr). Sigma 180-181 David Taylor: (all)
(ca, c). 12-13 500px: Sean Gladwell. (bc); Roy Cheung (br). 41 500px: Imaging (UK) Ltd.: (crb). 107 Alamy
14 © Canon: (crb). Courtesy of Nikon: sub_photography (tr); Rafał Kwiatkowski Stock Photo: Patrick Eden (cl). 500px: All other images © Dorling Kindersley
(cb). Samsung Electronics: (clb). (cra); Chris Greenwood (crb); Martin Lisaelle (cr). lomography.com: (cb). For further information see:
15 Courtesy of Nikon: (crb). Panasonic: Molcan (br). 42 O. Murrell: (cla, ca, cra, cl). Tokina: (bl). 108 David Taylor: (cla, ca). www.dkimages.com
(clb). © Sony Corporation: (cb). David Simon Murrell: (br). 43 500px: Hande 111 iStockphoto.com: fazon1 (tr).
Taylor: (tr). 16 Sigma Imaging (UK) Ltd.: Aydıngün (tc); Sue Hsu (tr). Simon Murrell: 112 500px: Ilyés Zoltán (cr, cl); Klaus
(br). 18 © Canon. 19 500px: Varman (b). 44 500px: Sutipond Somnam (br).
Fotographie (tc). Courtesy of Nikon: (b). David Taylor: (tr, cra, cr, crb). 45 David Vartzbed (clb, crb); Attila Gimesi (bl, br).
20 www.fujifilm-x.com. 21 123RF.com: Taylor: (all). 46 O. Murrell: (cla, ca, cra, 113 Alamy Stock Photo: Antonio Guillem
Pongphan Ruengchai (tc). Olympus UK: bl, bc). 47 Simon Murrell: (all). Fernández (br). David Taylor: (cla, ca, cra).
(b). 22 © Canon: (cl). Courtesy of Nikon: 48-49 500px: Yoshitada Kurozumi. 115 iStockphoto.com: WildLivingArts (tc,
(c). Sigma Imaging (UK) Ltd.: (cr). David 50 David Taylor: (all). 51 500px: Kseniya tr). 118-119 iStockphoto.com: Tommaso
Taylor: (tr). 23 Courtesy of Nikon: (cr). Rimskaya (tc); Pedro Damásio (fbl); Maciej Tagliaferri. 120-121 David Taylor: (all).
Olympus UK: (c). © Sony Corporation: Figiel (bc). iStockphoto.com: Xijian (tr). 122 iStockphoto.com: nycshooter (cl).
(cl). David Taylor: (tc, tr). 24 Courtesy of David Taylor: (bl, br). 53 123RF.com: David Taylor: (crb). 123 Alamy Stock
Nikon: (l, r). 25 123RF.com: Serezniy (bl). Jakhut (tr). 500px: 劼 肖 (cl); Iolanda Photo: Cultura Creative (RF) (clb). David
© Canon: (br). iStockphoto.com: Migfoto Enrione (c); Dina Belenko (bc); Gable Taylor: (crb). 128 iStockphoto.com:
(c). 26 123RF.com: Elnur Amikishiyev (bl). Denims (clb); Lukas Jonaitis (bl); Eric Esterle dominikmichalek (cl). David Taylor: (cr).
Getty Images: PhotoPlus Magazine (c). (cb); Teemu Tretjakov (cla); Mike Greenham 129 iStockphoto.com: Andreas Reh (cr);
500px: Gable Denims (cr); Valerie Quinn (fbl); Karin Ziegler (fbr); Guerilla Images (ca). Spondylolithesis (cl). David Taylor: (tr).
(br). 27 123RF.com: Elnur Amikishiyev 58 Alamy Stock Photo: Nazman Mizan 131 Alamy Stock Photo: Arletta Cwalina
(bc); Chiyacat (ca); Aleksandr Kurganov (br). 500px: Daria Garnik (bc). O. Murrell: (cr, br). 132-133 500px: Oszkár Dániel
(tc); Lorenzo Gambaro (cb). 500px: Hero (cla, ca, cra). 59 Simon Murrell: (tl). Gáti. 134 500px: Hiro Aoki (bl); Ian Reid
Images (tr); Ben Robson (crb); Albert Vik O. Murrell: (r, cl, bl). 61 123RF.com: Pius (br). 136 500px: Pablo Reinsch (cr).
(cra); Oleg Gekman (br). 28 123RF.com: Lee (tc); Martin Novak (tr). 63 123RF.com: 137 500px: Oleg Gekman (tr); Nova fly
Péter Gudella (br). Simon Murrell: (bc). Marek Uliasz (tc). David Taylor: (tr). (crb); Muslim Kapasi (clb). 138 © DACS
29 Manfrotto www.manfrotto.com: 65 David Taylor: (cra). 67 Getty Images: 2018: Sculpture: “Caldera”, by Tony Cragg
(tr, cr). Simon Murrell: (bc, br). 30 500px: Nimit Nigam (b). iStockphoto.com:
Andreas Altenburger (br). David Taylor: 4zoom4 (tr). 69 500px: Thomas Herzog 2008. Photographed by Nigel Wright at
(tr, bl). 31 500px: Hero Images (t); Gable (tr); Thai Thu (cl); Fabrizio Crippa (br). Yorkshire Sculpture Park. (cl). 139 © DACS
Denims (cb); Mike Clegg (ca). David 70 Alamy Stock Photo: John Bentley (b). 2018: Sculpture: “Caldera”, by Tony Cragg
Taylor: (c, b). 34 500px: Roberto Melotti 71 Alamy Stock Photo: John Bentley (br).
(bl); Aman Chotani (br); Moisés Rodríguez 72 500px: Bruno Piovan (bl); matg1985 2008. Photographed by Nigel Wright at
(bc). 35 Alamy Stock Photo: AA World (br). 73 David Taylor: (all). 80 500px: Yorkshire Sculpture Park. (b). 500px:
Travel Library (br); Mode / Tim Ridley (cl); Alena Haurylik (bl); Fabio Davini (br).
Grant Rooney (bl); Vibrant Pictures (cb); 81 500px: Mark Bridger (bl); iStockphoto. RooM_the_Agency (tc); Gable Denims
(tr). 140 Getty Images: JazzIRT (tr).
500px: First name Last name (cr); Ibrahim
Alsamnan (br). 144 Alamy Stock Photo:
Lee Frost (bc). iStockphoto.com:
Malkovstock (cr). 145 iStockphoto.com: