Just Say No to Chromo Abs

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I received soooo many emails about my HDR talk at B&H yesterday that I had to post this Photoshop tip before my usual Saturday Photoshop Mini-Session.

The emailers wanted more info about removing chromatic aberrations from HDR images – and images in general.

Well, here we go!

The top image is my original shot.

I created the middle image using Photomatix (5 exposures) and then by applying the Omaha Beach effect in onOne Software's PhotoTools. More on Photomatix and onOne at pluginexperience.com.

When I zoomed in on my final image (as always), I noticed a chromatic aberration around the trunk of the tree - stroked in red in the middle image.

To reduce that effect, which does creep into HDR images, and into some high-contrast photos taken with less expensive lenses, I turned to Photoshop. I went to Filter > Distort > Lens Correction. I played around with the Chromatic Aberraton sliders until the bright red line was removed, as you can see in the bottom illustrations.

Click on the image to enlarge.

Hey, I am trying to talk my buddy Scott Bourne into doing a Photofocus podcast on HDR imaging. Like the idea? Let is know here!

Remember, I have a new tip every day (when I am not traveling). Subscribe to my blog and get the info pronto. Gotta go for some Mo Joe.

Sunday's Speedlite Session - Control Subject and Background Brightness Independently

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Compare these two pictures of a monkey that I took in Gibraltar. One is an available light shot and the other is a daylight fill-in flash shot – the one that clearly shows the monkey’s face.

Here’s one technique for reaching that goal when you are photographing animals (at relatively close distances) and people outdoors.

First, you’ll need a flash with variable flash output control, that is, +/- exposure control – or a camera that lets you control the flash output from within the camera. Mount the flash on your camera (better yet on a bracket or off camera), but don’t turn it on yet.

Set your camera to the Manual exposure mode.

In the Manual mode, set the exposure for the existing lighting conditions, a.k.a. ambient light.

Turn on your flash and make an exposure with the flash set at – 1 1/3. If the picture on the camera’s LCD monitor looks too much like a flash shot, reduce the flash output to – 1 1/2. If it’s still too “flashy,” continue to reduce the flash until you are pleased with the results.

This techniques works because even in the Manual mode, the flash operates in the TTL (through the lens) automatic flash metering mode.

Some digital SLRs and flash units help the flash metering system determine the main subject’s distance, while others let you lock the flash exposure on the subject, while still others measure the ambient light and take that into consideration – helping you to get a great outdoor flash shot automatically.

Still, I suggest you master this manual technique if you are serious about your photography. When you do, you can control the brightness of the subject independently (with the flash output control) from the background (with the shutter speed).

Hey! They don't call me Rick "Speedlite" Sammon for nothing! I never leave home without one!

Saturday's Mini-Photoshop Session: Think Selectively – Not Globablly

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This might be my most important digital darkroom tip: think selectively, not globally.

When you think selectively, you think about the individual parts of an image that need enhancement. When you think globally, you are thinking about making enhancements to the entire image – which is sometimes not necessary, and sometimes not even necessarily the best idea.

Adjustment Layers and Smart Filters in Photoshop – and Plug-ins for Photoshop, Photoshop Elements, Aperture and Lightroom – make working selectively possible.

For this image, I increased the saturation of the woman’s dress and of her reflection in the mirror. I then used the Burn tool to darken the floor, background and her hands and face. As a final step, I sharpened the woman, the dresser and the mirror – leaving the background a bit soft so that the main subject was prominent in the scene.

About the photo: I photographed Marzia Gaspparotti during a VSP Workshop in Venice, Italy. Check out all of VSP’s info-pack and fun-filled workshops on their web site.

I was the instructor on a trip for VSP – founded by the lovely Marzia’s kinda good lookin’ hubby/great photographer Jonathan Maher – to Namibia two years ago and had a blast. I also helped out during one of their Venice workshop. No one does Venice like VSP … which formerly stood for: Venice School of Photography.

I love this dynamic duo.

Make pictures,
Rick

P.S. Hey, if you want to see some of my pictures from Namibia, click here to read my Layers magazine article: The Art of On-Location Portraiture. If you wanna join the fun on one of workshops, see the Events page of my website. China, Kenya, Rwanda, Laos/Vietnam - and the American South West added for 2010.

My Window Seat

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Hey... TGIF!

Just back from giving a seminar in NC and thought I'd share a few shots I took with my G10 from my window seat. I'm really getting into this compact camera thing. :-)

That said, no way am I hanging up my 5D Mark II. In fact, HD videos are in the works.

Got a G10 - or any other compact camera? Here are my top two shooting tips:
- Always shoot at the lowest possible ISO. These little babies can get a bit noisy above ISO 400 - especially in low light.
- Don't underexpose your images. That will cause an increase in digital noise - especially in the shadows.

And here's my top image-processing tip:
- Experiment with Levels first. Look to see how an adjustment can improve contrast, brightness and color. Pictures from camera cameras can often use a boost in those areas.

And here's another tip: ALWAYS HAVE A CAMERA HANDY! If not, you might miss some fun shots like these.

Make pictures,
Rick
P.S. If you like window seat pictures, check out Window Seat by Julieanne Kost - my Photoshop hero (so much so that I dedicated one of my books to her).