Review Digital Camera World 10-07-2013

Digital Camera World

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10 ways to drive photography snobs mad Oct 6th 2013, 23:01, by dcworld We've all met a photography snob at some point. Invariably it's the person who likes to wear their camera around their neck on a permanent basis, despite the lack of photo opportunities. They also tend to bang on at length about which settings they used to take a shot and explain in real time how long it took them to get everything 'just right'. If you've found yourself grinding your teeth listening to one of them droning on at length, then this article is for you. We've put together 10 ways to drive them crazy. How to annoy photography snobs: 01 Blown-out highlights Photography snobs are a bit retentive about highlights (ha!), they like lots of detail and don't like things burned out. So if you shoot nice, bright high-key shot they'll start to twitch. It may look good (which means it is), but there's no detail in the background, it's clean and white. They'd really prefer you to make sure that no pixel goes over a brightness of 254, even if nobody can tell the difference between that at 255. They're also likely to start waffling on about the tonal range of film. MORE: Blown highlights: how to rescue overblown skies using simple Photoshop effects As well has having better regard for what works aesthetically, they need to be realistic and bear in mind that if there's a naked flame in a dark room, the brightest part of it is probably going to be burned out if there's going to be any sense of atmosphere or detail in the rest of the shot. Expose to create an image that works rather than to slavishly preserve the highlights. PAGE 1 – How to annoy a photography snob: 01 Blown-out highlights PAGE 2 – How to annoy a photography snob: 02 Soft images PAGE 3 – How to annoy a photography snob: 03 Visible noise PAGE 4 – How to annoy a photography snob: 04 Shooting portraits from below eye-level PAGE 5 – How to annoy a photography snob: 05 No eye contact PAGE 6 – How to annoy a photography snob: 06 Colourcasts PAGE 7 – How to annoy a photography snob: 07 Converging verticals PAGE 8 – How to annoy a photography snob: 08 Tilting horizons PAGE 9 – How to annoy a photography snob: 09 Imperfect joins PAGE 10 – How to annoy a photography snob: 10 Great shots from compact cameras READ MORE Banish bad pictures: 9 quick fixes for common camera complaints Photography Basics: the No. 1 cheat sheet for metering and exposure Expose to the right: the camera technique every landscape photographer must know 3 exposure techniques every beginner must know (and when you should use them) 10 common exposure problems every photographer faces (and how to overcome them) How to copy adjustments across images in Capture One software Oct 6th 2013, 13:00, by jmeyer In this guest post, Rod Lawton of Life After Photoshop, the blog dedicated to testing and explaining all the Photoshop alternatives out there, shows how photographers can copy adjustments across images using Capture One photo editing software. Capture One, Aperture and Lightroom combine image cataloguing, browsing and non-destructive editing in a way that makes it possible to enhance whole batches of images both quickly and consistently. In particular, they let you choose the perfect set of adjustments for a single representative image in the batch, then copy them across wholesale to all the rest – or as many of them as you want, because you can apply changes to images individually to with just a single mouseclick. This walkthrough shows you how to do it in Capture One. At the same time, it shows how simple it is to apply white balance adjustments in situations where the manual presets just don't work that well. This is very common indoors under artificial lighting, where you're often dealing with light sources of unknown colour, often in combination, with the added complication of a little ambient daylight mixed in too. Here's a typical case. It's a collection of pictures taken inside Wells Cathedral in the UK, where the predominantly artificial light has given them most of them a  yellow/orange cast – I shot them all using auto white balance, knowing I'd have to fix them later anyway. Now I could try to apply an auto white balance adjustment to each image individually, but then they wouldn't look consistent. I wanted to find a single adjustment I could apply to all of them which was close to neutral overall, but still allowed for the slight natural variation between them. Click here to see how Rod gave all his images a uniform look! READ OUR LATEST SOFTWARE REVIEWS Read our Adobe Lightroom 5 review Read our Apple Aperture 3.4.3 review Read our Corel PaintShop Pro X5 review Read our DxO Optics Pro 8 review Read our Serif PhotoPlus X6 review Read our Capture One Pro 7 review READ MORE Adobe Lightroom: what every photographer must know about the alternative Photoshop Best photo editing tips for beginners: 18 quick fixes to common image problems 13 photo editing mistakes every photographer makes (and what you can do about it) 101 Photoshop tips you really have to try

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