Tuesday 2 April 2013

Review Digital Camera World 04-03-2013

Digital Camera World
6 simple lighting setups for shooting portraits at home (plus free cheat sheet)
Apr 3rd 2013, 00:00

If you’re looking to take your photography further you’ll probably want to learn how to use off-camera flash. In this tutorial we show you 6 simple studio light setups that will help you capture some of the classic portrait lighting effects.

What’s more, these lighting techniques will provide you with a solid foundation from which you can start experimenting to find your own style.

In our lighting setups cheat sheet below you’ll learn how to use high contrast light at a 90-degree angle; diffused light and a reflector; high contrast light at 45 degrees; high contrast light at 45 degrees with a reflector; low contrast light at 45 degrees with a reflector; and finally rim lighting from behind.

Lighting Setup 1: High contrast light at a 90-degree angle

Lighting Setup 1: High contrast light at a 90-degree angle

A striking result achieved with minimal kit. Using a single flash head at this angle can give an unflattering result, though.

The light will show up bumpy skin textures and create stark shadows and bright highlights.

Without a diffuser, the quality of light will be high contrast and if placed near the subject will create problems with fall-off where light is spread unevenly across the face.

By not using a reflector, shadows will be deep.

PAGE 1: Lighting Setup 1- High contrast light at a 90-degree angle
PAGE 2: Lighting Setup 2 – Diffused light and a reflector
PAGE 3: Lighting Setup 3 – High contrast light at 45 degree
PAGE 4: Lighting Setup 4 – High contrast light at 45 degrees with a reflector
PAGE 5: Lighting Setup 5 – Low contrast light at 45 degrees with a reflector
PAGE 6: Lighting Setup 6 – Rim lighting from behind
PAGE 7: Download all 6 lighting setups in our free cheat sheet

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Photoshop Adjustment Brush: how to make quick, localised tweaks to exposure
Apr 2nd 2013, 16:28

In our latest Raw Tuesday tutorial on editing raw format files we show you how to use the Photoshop Adjustment Brush to make precise selective exposure adjustments to your images.

Photoshop Adjustment Brush: how to make quick, localised exposure tweaks in Adobe Camera Raw

When shooting a backlit subject like our paddling toddler, your camera's Evaluative metering mode may close down the aperture to avoid over-exposing the image's brightest areas.

It won't understand that the main point of interest is the subject's face, so it allows these areas to be plunged into shadow.

You could try changing the Metering mode to Spot and exposing for the face, but this can cause the background highlights to become blown out.

Our before image

Our before image

Or you could manually trigger the flash to fill in any under-exposed shadows. But sometimes a photo opportunity is fleeting, so you may have to shoot first and ask camera setting questions later!

If you shoot in compressed JPEG format, you could try using Photoshop's Shadow/Highlight command to brighten a shot's shadows to reveal more detail. However, this can also reveal picture noise in the adjusted areas.

A JPEG's brightened shadows tend to look quite desaturated too. By shooting in raw format you'll have much more tonal and colour information to work with, and the Adjustment Brush in CS4's version of Adobe Camera Raw enables you to dodge or burn specific areas with precision.

Here, we'll show you how to use the Photoshop Adjustment Brush to target the boy's under-exposed face and body, and gently brighten them to make him stand out. You'll also learn how to use extra raw-editing tools such as masks to discover which areas are being altered and then fine-tune them if necessary.

How to use the Photoshop Adjustment Brush to make selective adjustments

How to use the Photoshop Adjustment Brush to make selective adjustments: step 1

01 Open and crop
Click on the link to download the Advanced folder. Go to File>Open. Browse to your start image and click Open. The image will open in Adobe Camera Raw. Hold down the mouse on the Crop tool, then untick Constrain to Image. Drag the crop window over the image and hit Return to lose the foreground rocks.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 2

02 Clobber clipping
Press 0 to view any over-exposed highlights as patches of red. You'll notice these blown out (clipped) areas on the boy's sunlit shoulder and in the specular highlights on the water. Drag the Recovery slider to 30 to claw back missing highlight detail. The red patches will vanish.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 3

03 Make global adjustments
Set Exposure to +1.00 and Contrast to +56. This brightens up the face, but the rest of the shot is over-exposed. Luckily you can take these settings and apply them to specific areas using the Adjustment Brush. Restore Exposure to 0.00 and Contrast to +25.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 4

04 Grab the Adjustment Brush
Grab the Adjustment Brush from the top tool bar. The Exposure and Contrast settings you used in the previous step are perfect to brighten up the boy's under-exposed face, so set Exposure to +1.00 and Contrast to +56. Set Size to 7 and Feather to 60.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 5

05 Lighten the face
By default the Adjustment Brush is set to New. Click to place a pin on the boy's face. Spray the tip over his face to lighten it using the desired Exposure and Contrast settings. This makes a tonal adjustment that lightens the face, leaving other areas untouched.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 6

06 Target the top
In the Adjustment Brush panel, click New. Click to place a new pin on the boy's backlit blue top. Dial down the strength of the adjustment by setting Exposure to +0.60. Set Contrast to +40 and Size to 10. Spray over the sweatshirt, hat, hands and feet to lighten.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 7

07 Marvellous masks
Tick the Show Mask box. Any areas being adjusted by the second pin will show as grey patches. Spray to include any bits of sweatshirt you've missed. To remove areas from the adjustment tick Erase and spray over. Untick Show Mask when you've finished.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 8

08 Darken the parents
The background parents are a little washed out. Click New in the Adjustment Brush panel. Set Exposure to -40, Contrast to 0 and Size to 7. Click to place a pin on a background figure. Spray to darken – this helps them stand out from the light background.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 9

09 Brighten the eyes
The boy's eyes are a key feature, but they are still a little under-exposed. Click New and set Size to 4. Click to place a pin on the left eye. Set Exposure to +0.35 and Contrast to +47. Spray on the eyes to lighten (dodge) them. This gives them more impact.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 10

10 Global adjustments
Click on the Zoom tool to exit the Adjustment Brush panel and access the Basic panel. For stronger shadows, set Blacks to 10. You can also brighten the midtones a little by sliding Fill Light to 7. For more striking colours, set Vibrance to +36.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 11

11 Remove dirt
By brightening the face we've revealed some dirt, so grab the Spot Removal tool and set Type to Heal. Click and drag to draw a red circle over a dirty patch. Drag the connected green circle to a clear patch of skin to replace the dirt. Repeat to clean the face.

How to use the Photoshop Adjustment Brush to make selective adjustments: step 12

12 Fine-tune the effects
The great thing about editing in raw is that the changes you make are non-destructive. Click back on the Adjustment Brush, then click on the pin that controls the facial adjustment. Drag Exposure up to +1.10 to brighten this important area a little more.

READ MORE

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Fuji X20 review
Apr 2nd 2013, 10:00

Fuji X20 Review Video: Fujifilm has come on strong of late, launching a slew of new cameras with cutting-edge features. Does the Fuji X20 carry on this trend? Amy Davies of our testing team puts this Fuji X10 replacement through its paces in her Fuji X20 review video.

When our testing team took a look at the Fuji FinePix X10 it really impressed them, so naturally they were pleased to learn that the Fuji FinePix X20 that replaces it is fundamentally the same, but with a sensor based on the one in the superb Fuji X-Pro1.

However, while the Fuji X100S and the Fuji X-Pro1 have APS-C format sensors, the Fuji X20 uses a 2/3-inch X-Trans CMOS II device with 12 million effective pixels.

In her Fuji X20 review video, Amy Davies takes a look at what this new Fuji camera has to offer.

Fuji X20 Review Video Transcript

This is the Fuji X20, the upgrade to the popular and well-respected X10.

If you’ve seen or used the X10, you probably won’t see much of a difference between the two cameras, as they use pretty much the same body design.

Fuji says that there have been over 50 improvements made to this camera, most of which take place inside. Probably the most notable is the sensor design, which, has a random colour filter array that means the sensor doesn't need an anti-aliasing filter, like the X100S and X Pro1.

This is quite a chunky compact camera, and because of its protruding lens, you’re unlikely to be able to fit it in a trouser pocket. As with the other cameras in the X range, Fuji has gone for a retro design, with a textured coating and a protruding grip here that makes the camera feel very secure in the hand.

It’s via the lens that the camera is powered on, by twisting it around like this. It’s great for capturing quick action, but, on the downside, when the camera auto-powers off, you need to twist it off and on again to reactivate the camera.

Here on the top of the camera we’ve got two mode dials, one for switching between the various modes the camera offers, and another for adjusting exposure compensation. This dial is easily reached by the thumb and is handy for making quick changes.

On the mode dial you’ll find fully automatic modes, semi automatic modes – such as aperture priority and shutter priority – and, usefully, two slots for custom functions. You can save groups of settings to these, handy if you often find yourself shooting particular types of scenes.

Also on top of the camera is a small function button. By default this is set to ISO sensitivity, but there’s a number of options you could assign to this – such as Film Simulation.

The back of the camera is pretty similar to many other digital compact cameras on the market. Here we’ve got a four way directional pad, with a Menu button in the centre and surrounded by a jog dial.

One small change from the X10 is that this button, which was previously marked with RAW, is now the Quick Menu button.

This scrolling dial here can be used to alter aperture or shutter speed, depending on the mode you’re in. When in fully manual mode, you can either push in the dial to switch between the two, or use this dial for altering one and the scrolling dial for the other.

Several of the key options have direct access buttons. For instance, white balance can be accessed here, drive mode here and metering – called photometry by Fuji – here. When you need more extensive settings, the Quick Menu is a great way to access them. Use the arrow keys to scroll around these options, and then scroll with the thumb dial to make changes.

There’s no touchscreen on the X20, so to change the autofocus point, first you’ll need to hit the up key, then use either the scrolling dial or the arrow keys to move around to the point you want to use.

The thumb dial can then be used to alter the size of the autofocus point for more precise focusing. Macro focusing is activated via the left key, and you can choose between standard macro and super macro which allows you to get as close as 1cm from the subject.

The X20 has an optical viewfinder. There’s a sensor here which detects when you’ve lifted the camera to your eye, switching off the rear LCD screen.

One of the more noticeable improvements to the X20 has been made to the finder, which now includes a Digital Trans Panel to display key information such as aperture, shutter speed and focus area.

This 460,000 dot screen is the same as that found on the X20. It’s a reasonably good performer, not suffering too badly from glare and reflection in all but the brightest of light. It also has a good angle of view, helping when you want to shoot from slightly awkward positions.

We had very high hopes for the X20, since the X10 performed so well. Happily, we have not been disappointed with the image quality from the camera. Images are bright and punchy, and the new sensor design means it is capable of resolving more detail.

The X20 makes a great standalone camera, but it is also worth considering for owners of larger cameras looking for an excellent backup, or everyday, camera.

READ MORE

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