Since I started posting photos online I’ve always created two images:
This has served me well as I have from time to time changed the software I use to develop photos. Otherwise, I might have the web version and not be able to recreate a full size version for printing or other uses.
Up until very recently after I worked on an image I would add it to an “inphotos” default collection (press B), then right-click and export twice. Once for web, once for full size. I had to do this for each image. Sometimes I could select a bunch of them and export if I knew I had a number of “keepers” from a shoot but otherwise it was tiresome.
I’m now experimenting with smart collections in a Hard Drive Publish Service. I still have an inphotos.org collection, but I added another one called, “Published inphotos”. That’s a smart folder that contains all the published photos that have already gone up on the site. That folder contains every image that comes from the inphotos.org collection and is labelled Yellow.
Aside: I also added a “Potential” smart folder for photos I’d like to work on. Labelling a photo RED will put it in this folder.
Obviously I haven’t added every published photo to it and I probably won’t. I don’t have time to, but I will fill in older photos when I have a spare moment.
If you’re not familiar with collections here are two videos from Adobe on ordinary collections and smart collections that are worth watching:
I then created two publish services. One for full size images, the other for web images.
The 00-inphotos and 00-Large smart folders initially contained every image that is in the inphotos.org collection. I soon realised I’d have a problem with the web sized 00-inphotos folder. If I published a photo how would I remember that event easily? In the past I moved the file into a different physical folder, but I wanted Lightroom to track this. To do this I decided to add a yellow label to every photo I published. I created a new “00-published” smart folder. This folder collects every image that is labelled Yellow from the inphotos.org collection.I modified the 00-inphotos smart folder so it contained every image except those labelled Yellow.
So, when I published an image I went into the inphotos.org collection in Lightroom and labelled the image yellow by pressing “7”. This would cause the 00-inphotos smart collection to delete the image, and the image would be added to the 00-published smart collection. I just had to hit Publish on each of them and the file would be “moved” from one physical folder to the other.
It’s early days yet and I’ve only posted a few photos using this method but it works well. Editing photos and adding them to the inphotos.org collection is a breeze but this is a process that’s not set in stone and will be refined with time. If it’s too awkward I’ll move on to something else.
I use the WordPress “new post” interface to make new posts, or if I have time to do so, I’ll schedule a number of posts using Postbot.
How do you use Lightroom to post to your blog or social media site?
This is a tutorial that will explain how to add a copyright notice to your photos in Aftershot Pro. It can even be done automatically when you export the image as a Jpeg for publishing online. In this tutorial you’ll learn how to create a new preset called “My Copyright Text”. This tutorial uses the zText plugin.
This is what a simple copyright message will look like but you can change it to suit your own needs.
After you install zText find it in the plugins tabs and enable it, type your copyright notice and set the size appropriately.
You can adjust where the message will appear on the “Preset” tab of the plugin.
Once you’re happy with your copyright message hop over to the Presets widget and click the + “Add Preset” icon.
This window will popup, rename the preset to something meaningful and click “None” to unselsect everything.
Go into the Advanced tab and select zTextPlug and you should see the settings you already configured. Click OK.
Click the Show checkbox next to your new preset and the “Done” button on the Preset widget.
If you have an output job configured you can add the copyright notice as a preset in the job settings to automate the task every time you export a file. One advantage of doing this is your image in Aftershot Pro won’t have the copyright text making it easier to export it again using a different batch output job.
Hope that helped, want some more Aftershot Pro tutorials?
Adam is 5 weeks old today! Last Wednesday we saw his first smile, or perhaps it was trapped wind because he was just after feeding but it was a beautiful sight to behold. He has smiled since too, and was especially cheerful this morning!
Adam loves his baby soother though. He sucks on it like Maggie out of the Simpsons does. Non-stop and with feeling!
If a soother or dummy isn’t nearby and it’s available, a hair dryer works wonders for relaxing him. The sound soothes him and he can go from screaming the house down to docile and a gurgling baby in seconds when the hair dryer is switched on. It’s magic.
Technique: This is a high key portrait created using two layers.
1. Original image is the bottom layer.
2. Duplicate that layer.
3. Convert top layer to b/w using channel mixer.
4. Apply Gaussian blur to the top layer. I used a 75 pixel wide blur.
5. Change mode of top layer to screen.
6. Add white layer mask to top layer and reveal eyes from original image by painting over them with a black brush. Use an opacity of 10%.
7. Merge layers and save. Layers should be separate when resizing so you can unsharp mask the bottom layer.
Hope that is of use!
The tide is out in Cobh, Co. Cork while the sun sets in the west casting an orange glow over the water and boats in the harbour.
This required some work to expose properly. The sky is bright while the harbour, houses and landscape are in shadow. Out with the layers, top layer for the sky was darkened and the opposite was done for the ground.
Then it’s the simple task of adding a layer mask to the top layer and rubbing out the dark bits to expose the brightened landscape.
When using a layer mask, never paint with an opacity of 100%, try 30% or even 5%. Don’t be afraid to do a rough job of exposing the bottom layer because with a layer mask you can always reverse the procedure by swapping the colour of your brush with an opposite colour!
Thank you all for the comments on yesterday’s post, The Lonely Swan, it’s great to get feedback and I’m glad when people get something out of my methods when I describe them. See what you’ve done? I did it again!
John asked what did he original Ready to go! look like and I’ll oblige now. Showing what the original photo looks like is akin to showing what the first draft of a written essay or post reads like. Sometimes the image comes out perfectly in the camera but that’s rarely the case. At the very least light levels have to be balanced and if resizing for publication online then the resized image has to be sharpened.
Hover over the image below to see what the original shot looked like. Hopefully this will work for RSS readers but if it doesn’t, visit the blog and leave your mark here!
Notice how I rotated the image? I had to reconstruct the bumper on the right of the picture, as well as filling in the gaps at the other corners of the photo. Tree branches and leaves are easy enough, as is the relatively solid black texture of the tar on the road, but the bumper was difficult, and the shaded area of the building on the left presented me with a few extra minutes of clicking to get right.
Want to see more “First Draft” posts? I can’t promise to do many, but if you have a compelling reason why you’d like to see the original of a photo I’ll do my best to help!
PS. Bryan – you might recognise the CSS. I took it from the button of doom you did! Hope you don’t mind!
PPS. Treasa has posted a tutorial of how she worked on two photos with steps in Photoshop to get the desired effect. Nice!
David at Strobist has linked to all his flash lighting articles in one place. It’s a really good place to go if you want to get the most out of your flash.
Another great resource is Photonotes: Eos Flash for users of Canon cameras and flash units. There’s some great bits of info there.
If you’ve ever tried stitching photos together to create a panoramic photograph you’ll be more than aware of the awful distortion between one frame and the next. That’s one reason why it’s recommended that frames overlap by at least a third.
There is so much distortion because the camera is rotated around using a normal tripod or worse still, handheld. The axis around which the camera is rotated is centered on the camera body usually, but a panoramic tripod is different. The center of rotation should be the lens of the camera, specifically the “nodal point” of the lens where light paths cross before hitting the camera’s film or sensor.
Make Blog links to a tutorial on building a panoramic tripod head for $10! That’s a lot more reasonable than what you’d pay for a head from Manfrotto or manufacturer. It probably isn’t quite as portable or nice looking though and you might have to invest in some tools to cut the wood and build it but it would be an interesting project.
If that’s too complicated, you can build a battery using a bit of wire, a screw and a magnet!
Jakub ‘jimmac’ Steiner has published several demos of the GIMP in action.
Subjects such as defining shortcuts, image templates, transformations and paths and more are covered. Use the mirrors, because I haven’t downloaded the videos myself yet!
First it was lomo, then cross-processing, and now the latest craze among online photographers seems to be making their photos look like miniture models.
A common side-effect of macro photography is a shallow depth of field (DOF) which means that only a small portion of the scene is in focus. Luckily this effect is very easy to emulate and here’s a tutorial to show you how. Pay attention to Christopher’s advise about what sort of shots work well! You could also buy a Len Baby which does a similar job and more!
Daily Dose of Imagery has a very good example of the “fake model” photo. He blurred the foreground and background, but some middle distance objects are in focus and intersect the blurred area. Nicely done.
Even after an effect becomes stale and overused online, there’s always the print world. People seem to like that sort of stuff all the time!