-To Isolate Objects against a white background:

Photograph your object using any background, Then:

a) Zoom in 200-300%.
b) Use the pen selection tool to chart an exact path around the object.
     Get it perfect.
c) Click on working path Icon in paths palette
d) Select> Modify> Contract by 2 pixels. Smooth by 3-5 pixels.
e) Select> Inverse-. Feather by 0.2 - 0.5 pixels. Press Delete.
  f) Select> deselect
   You now have isolated object on white background.

I wonder who holds the record for the most "Image sold today" e-mails from Fotolia,two weeks ago, I received 410, yep, four hundred and ten e-mails over 5 days-all for the sale of a single image-a FREE ONE!

Regards, Ken

Nothing wrong with your camera-just get exposure right and correct white balance:

Sunrise/sunset     2400-3000 Kelvin........................Use Auto white balance
Tungsten lighting 3200-3500 Kelvin ........................Use tungsten/Incandescent white balance
Fluorescent lighting   4000 Kelvin             ...............  Use fluorescent White balance
Early morning/afternoon sun 4000 Kelvin.......Use auto white balance/ --fluorescent white balance
(Magenta filter) to counter greenish cast on skin from foliage if under trees or on really green grass
Noon sun/Sun overhead...5000-6500 Kelvin.........................use Cloudy White balance
Flash photography in daylight  5500 Kelvin ...........................Use Flash White balance
Deep shade......................6500 Kelvin..............................Use cloudy/shade white balance
Shade in daylight    7500 Kelvin ..........................................Use shade white balance
Heavy overcast, very dark shade 8000 to 10000 Kelvin.........Use shade white balance plus 81a-85c glass filter

Exposure

Thanks to digital cameras, exposure has never been so easy and simple to achieve, for general outdoor photography. (Studio work still requires a hand-held meter and grey card for its more exacting demands on the photographer) Most of the time matrix (evaluative) metering, will do a great job. For portraiture, centre-weighted is preferred, and where high contrast separates dark from light, spot metering comes into its own.  Considering stock photography, we need to also keep in mind the element of noise, the biggest reason for rejection in our business- noise can be reduced in  post-processing, to an extent, but if we can avoid excessive noise when making our images, the better our chances of approval, and less time at the computer. Correct exposure is how to control noise at the making/taking stage- and correct exposure is simple-By studying the histogram on the camera's monitor screen, we can adjust our exposure compensation to ensure that the bulk of the graph is just to the right of centre, and each end is just touching bottom corners.- If left-hand side of graph climbs left screen edge, the shot will be over-exposed, with no detail in the shadow areas: If the same thing happens to the right-hand side, highlights will be blown, rendering the shot totally useless. For a second opinion, we can use the highlight flashes, also on the monitor screen, which flash black and white  when highlights are blown. NOTE: If you can, get hold of a hand-held exposure meter, and you will be amazed at the difference it will make to your images
        Sometimes you will find a scene will be beyond the camera's 5-stop dynamic range, so if you meter using ,Matrix (Evaluative) or Centre-weighted, you will lose some detail in either highlights or shadows. A split-graduated neutral density filter (ND Grad) is recommended, But if you don't have one: Try Dynamic Range Increase: With camera on tripod: meter for highlight,  take a shot-then  meter for shadows, take another shot. In Photoshop, add lighter image to darker as a new  layer, then: Select> Color Range-click highlights ,check "invert", click "OK". Add layer mask. Filter> Blur> Gaussian Blur 250 pixels. Flatten and save. You will get detail in highlights and shadows

2. Photoshopping  (Digital darkroom)   Basics

a) Check Levels -(Histogram)

b) At 100% (Actual Pixels) check for:

- Noise
Image> Mode> LAB Colour> Channels
Channel "a"   Gaussian blur 5 pixels
Channel "b"   Ctrl+F
Channel "lightness" Filter> noise> despeckle
Image> Mode> RGB colour

- Lateral chromatic aberration (fringing)

Ctrl+J select brush tool and click on the quick mask tool.
Choose a brush size to match the width of the fringe.
Trace over all the areas that have fringing. When done, click icon next to quick mask
Select> Inverse.
Image> Adjustments> Hue/Saturation and pick the color closest to your fringe color Click eyedropper on the fringe color on your image.
drag Saturation slider to the left until the fringing goes.
Select>deselect
Flatten and Save
- Transverse chromatic aberration (Moire banding) - Filters/blur/Gaussian Blur  at 1.5 pixels radius


-Contrast Enhancement ("Pop")

Ctrl+J
Filter> Sharpen> Unsharp mask  Amount 30
                                                    Radius  60 pxls
                                                   Threshold  10
Blend mode> Luminosity- Flatten

- To sharpen - Smart sharpen
Ctrl+J
Select> All> Edit> Copy
Channels> New channel (alpha 1)> Edit> paste
Filter> Stylize> Find edges
Ctrl+L move sliders for clean edges
Filters> Blur Gaussian blur1.5 pixels
Select> Load selection-Check "invert" click "ok"
Select RGB channel
View> Show> "selection edges" uncheck
Filter> Sharpen> Unsharp mask- Amount 500
                                                     Radius   0.2
                                                   Threshold  0
Select> deselect>  dump alpha channel   
Blend mode "luminosity"
Ctrl+shift+E   

Regards, Grizzly

Quote from: sharply_done on August 22, 2007, 19:27

Quote from: Lincoln on August 22, 2007, 15:12
I never even thought of that.  I tried downsizing all the way to 1600x1200, and while the noise is not as noticeable, it's still there.

Make sure to use the 'Bicubic Smoother ' option when you downsize.

Also, pay attention to IS sizing:
XLarge= 2800 x 4200
Large= 1820 x 2730
Medium = 1134 x 1701

This means that ALL of your shots - even the ones that you don't downsize - will be sold on IS as 'Large'. Given the nature of your camera, you run the risk of noise rejection if you don't downsize.

Wrong! Bicubic smoother when you upsize; bicubic sharper when you downsize

Taking a photography course,nowadays is a total waste of time and money-I have been a photographer now, for 47 years,in 2001, I went back to university to study this new-fangled digital photography at a cost of $20,000 and three years full-time study,to get a diploma. I could hve learned more for nothing had I been aware of how much information was available on the internet, So go online and learn all you need for free! Start off with Jodie Coston's course, at www.morguefile.com Regards, Grizz

Quote from: GeoPappas on July 09, 2007, 20:08

Quote from: Freezingpictures on July 09, 2007, 14:18
You really have to take care that the white dress is not blown out, especially when you are in the sun.

One thing that nobody seemed to mention is the importance of shooting in RAW mode (if possible) to make sure that the white balance and exposure level can be adjusted post-processing (just in case).


Also, if you have a gray-card (for white balance), then I would suggest taking it along so that you can adjust white balance periodically.

Why give yourself extra post-processing and taking up so much roo your flashcard? It is just as easy to correct white balance and exposure on jpegs as it is on raw images. It has also been proven, by pro-raw shooters that properly exposed jpegs are just as good as processed raw images,in their finish state-You will find that most wedding photographers will use jpeg-hey we're talking 1500-2000 images per wedding!

I believe every photographer owes it to him/herself to photograph a wedding-It is a wonderful experience-so after nearly fify years in the business, here are my tips:

My take on  Wedding Photography - Kenneth William Caleno

Essential Equipment

Two camera bodies that share the lenses
Two flashes (strobes) plus cables, etc.,
18mm-55mm zoom
50mm standard lens F1.8 or even better F1.4-for low-light situations
Not essential, but handy for candids and from back of church images- 70mm-300mm zoom lens
large capacity digital storage cards
At least triple batteries as you think you will need
Two white reflectors
Diffusion (soft-focus) filter
85c warming filter for grey days
Tripod for formal photos
Lens hoods to control flare
Planning the wedding shoot

You must have a timetable to work from, or you will fail miserably.

You must always remember:

The Bride is never on time
Cars are sometimes late arriving
Ministers will often talk for longer than expected
Traffic may be chaotic
Something may have been forgotten somewhere

Murphy, being the Patron Saint of Wedding Photographers, will no doubt ensure that if anything can go wrong-it will, and usually at the most inopportune moment. Allow for plenty of time for each section of the shooting script.

Planning Session

Planning is crucial, so make sure that time has been allowed for photography, and travelling to each location.

A: Who is Paying?
Find out who is paying for the photography, because the person footing the bill is the client, and needs to be consulted-If the bride's parents are paying, and want nice, classic portrait shots of Bride & Groom, and the Bride wants cross-processed, arty, or black & white images-you had better get nice safe photos for Mum and Dad as well!

It is very important to find out and determine EXACTLY what the client wants, and is expecting to get. Quite often people do not know what they want-until you have shot it.
       What you don't want to hear is: " We didn't want half of this stuff, we want a refund!!!"

Whoever is paying, make sure you get paid up front. I usually ask for my daily rate photography  fee on signing the contract, and the balance seven days before the wedding date. (This saves you wondering if and when you are going to be paid, and saves you chasing clients for payment.) I also only charge for the day's photography up front-prints are priced separately -  I take around 2000 shots per wedding, and shave these down to around 500 and put as proofs on CD's made to show to my clients-then they can choose what they want for their albums.

B. Working with schedules and timetables
Once you have found out what is wanted and who is paying, start working out your shooting schedule. I usually type these out and give to attendants in the bridal party, to organise everybody for their photo to save time.

I also type my schedule on small cards for my pocket while I am shooting, so I know when the next sequence is due.

Let your clients know that formal photos of the bridal party should take between  one to one-and-a-half hours.-Any longer will drag the proceedings, and any less time will limit the number of set-ups wanted.

Subtly point out that the guests should be advised of what is going on.

It is important to let the client know that if they cut your time, you will need to cut the amount of photography to shoot.

Protocol and family Politics

You need to tread very carefully where family politics are concerned, as you set up groups- ex-wives versus new wives, step-children, recently divorced couples. Better to let people sort themselves where they want to be, then just arrange set-ups accordingly.
If everyone, guests included, know exactly what happens, and when, and with whom, it will alleviate, the Bride's and groom's stress, your stress, and you will get results that please your clients.

Once PLAN "A" ( Beautiful sunny day, no wind,) is in place, work out alternatives- "B"; "C"; "D"; etc., You need somewhere to photograph if it's raining, snowing, gale-force winds etc., And a choice of idyllic locations.


A Typical Schedule Plan


a). Groom's House

Photos at the Groom's house happen rarely, but if they are wanted, then you must make sure things run on time, in order to get to the Bride's house on time

b). Bride's House

Get to the house early, showing you are organised and professional. The Bride may be very nearly ready, and being the early bird may give you a chance to get things in order without rushing. Confidence is the keyword, so compliment the  Bride, say she looks nice, and has nothing to worry about (Do not, under any circumstances tell her she is beautiful, because, if she isn't, she will know, and this could turn her against you.)
If everyone, guests included, know exactly what happens, and when, and with whom, it will alleviate, the Bride's and groom's stress, your stress, and you will get results that please your clients.

Once PLAN "A" ( Beautiful sunny day, no wind,) is in place, work out alternatives- "B"; "C"; "D"; etc., You need somewhere to photograph if it's raining, snowing, gale-force winds etc., And a choice of idyllic locations.


A Typical Schedule Plan


a). Groom's House

Photos at the Groom's house happen rarely, but if they are wanted, then you must make sure things run on time, in order to get to the Bride's house on time

b). Bride's House

Get to the house early, showing you are organised and professional. The Bride may be very nearly ready, and being the early bird may give you a chance to get things in order without rushing. Confidence is the keyword, so compliment the  Bride, say she looks nice, and has nothing to worry about (Do not, under any circumstances tell her she is beautiful, because, if she isn't, she will know, and this could turn her against you.)
If you can help the bride and her family to be calm at the house, the tone of the whole wedding will reflect on this.
Let the family know what you are going to photograph outside the church, or wedding venue.

c). Church or Wedding Venue

Get to church, or wedding venue as soon as you can to get set up for what follows.
Talk to, and photograph the Groom.
Talk to minister/celebrant, checking all is ok, use/non-use of flash, etc.,
Wait outside for cars to arrive
While the ceremony is taking place, look around for photo opportunities-is the Bride's Mother crying? her Father, crying or smiling?
Once the vows have been made, register signed, etc., Bride and Groom will walk down the aisle, or things will just finish. This can be an awkward moment-one of two things usually happen:

a) The Bride & Groom will be surrounded by guests, and if there are lots of guests the crowd may take a time to clear.

b) (Usually at churches) when Bride & Groom come out there is no-one at first, then all guests file out slowly and  stand around the couple looking at them.

Some guests will want to take photographs at this point, so set up the shot and let them fire away, after you. Work with these people throughout the day, and some of these people could be your next client.

Start the family photos, beginning with the Bride's side, then the Groom's, then all the friends and hanger's-on.

d).  The Formal Photos

After all the ceremony kerfuffle, the bridal party will want to relax a bit, maybe have a drink and a smoke for 10 minutes or so, while you are getting ready. But when you are ready, you need to get them back on track to get all required images done on time Bride and Groom, at this point, aren't usually the problem, it's generally the best man wants another beer, or the maid of honour who wants another smoke, or someone gets loud. You need to gain control of this.

If there are children in the party, use them first, as they have a very short attention span.
No matter what happens here,-stay calm, even when things go wrong, keep calm you won't get good photos if you are stressed.
When you think you have finished, better check with Bride and Groom that you have all they wanted, or if you were pressed for time, that you have the set-ups they wanted the most.

Now you have to get back to the reception before the wedding party do.

e). Mock Cake Cutting

This is done when budgets are tight, and you aren't required to attend the reception, due to funds being tight.

f ). The Reception

Before the bride and Groom arrive at the reception venue, Be ready to catch them arriving.
Things that usually happen at reception are: (in any order): speeches, toasts, food, then the first dance. While there is potential  photography, don't eat, or drink, just in case you miss something worthwhile.
Before leaving be sure that the Bride, Groom and whoever is paying for the photography, have all the shots they need with nothing missed.

g ). After it all

Get the finished prints to the Bride & Groom as soon as possible, that's good business, You will want them to see the prints while the day will still be fresh in their memory. Do not get caught in the middle of any disputes-The prints are always to be delivered to the Married couple, and not to anyone else. (unless arranged otherwise). If someone other than the Bride & Groom is paying for the photography, it should be explained to them beforehand  that the Bride & Groom get the prints.
When sorting out the finished prints, take out the blinks, and the ones that aren't up to par.
Regards, Grizzlybear

Hi,Too much noise is noise visible to the naked eye at 100%

If you use Noise ninja,grain surgery,or neat image,you will only degrade your images.

To avoid unacceptable noise,get your exposure right:

Exposure

Thanks to digital cameras, exposure has never been so easy and simple to achieve, for general outdoor photography. (Studio work still requires a hand-held meter and grey card for its more exacting demands on the photographer) Most of the time matrix (evaluative) metering, will do a great job. For portraiture, centre-weighted is preferred, and where high contrast separates dark from light, spot metering comes into its own.  Considering stock photography, we need to also keep in mind the element of noise, the biggest reason for rejection in our business- noise can be reduced in  post-processing, to an extent, but if we can avoid excessive noise when making our images, the better our chances of approval, and less time at the computer. Correct exposure is how to control noise at the making/taking stage- and correct exposure is simple-By studying the histogram on the camera's monitor screen, we can adjust our exposure compensation to ensure that the bulk of the graph is just to the right of centre, and each end is just touching bottom corners.- If left-hand side of graph climbs left screen edge, the shot will be over-exposed, with no detail in the shadow areas: If the same thing happens to the right-hand side, highlights will be blown, rendering the shot totally useless. For a second opinion, we can use the highlight flashes, also on the monitor screen, which flash black and white  when highlights are blown. NOTE: If you can, get hold of a hand-held exposure meter, and you will be amazed at the difference it will make to your images
        Sometimes you will find a scene will be beyond the camera's 5-stop dynamic range, so if you meter using ,Matrix (Evaluative) or Centre-weighted, you will lose some detail in either highlights or shadows. A split-graduated neutral density filter (ND Grad) is recommended, But if you don't have one: Try Dynamic Range Increase: With camera on tripod: meter for highlight,  take a shot-then  meter for shadows, take another shot. In Photoshop, add lighter image to darker as a new  layer, then: Select> Color Range-click highlights ,check "invert", click "OK". Add layer mask. Filter> Blur> Gaussian Blur 250 pixels. Flatten and save. You will get detail in highlights and shadows


To reduce noise in existing images:

- Noise
Image> Mode> LAB Colour> Channels
Channel "a"   Gaussian blur drag radius slider until noise just starts to go - click "OK"
Channel "b"   Ctrl+F
Channel "lightness" Filter> noise> despeckle
Image> Mode> RGB colour

Regards, Grizzlybear

UV and skylight filters are a total waste of time and money,and as for protecting a lens, if the glass filter gets broken, it will more than likely scratch the front lens element, so that's no excuse for these filters, a lens hood is better for protection. Don't let the camera shop salesman let you believe that you need one of these filters. Regards, grizzlybear

If you don't have photoshop CS2 at least,you will either need to purchase a plug in,or use DRI (dynamic range Increase)

Using camera on tripod, take one shot metered for highlights,and one shot metered for shadows using spot-metering

Open both images in photoshop, add light image to dark image as a new layer

Select>color range-"highlights",check"invert" click"ok"
Add layer mask
Filter>blur>gaussian blur 250 pixels
Flatten and save

resulting in details in both shadow and highlights. Regards, grizzlybear

I use local contrast to give images "pop"

Unsharp mask-amount 5-20
                        radius  30-100
                        Threshold 0
You can repeat this over and over and get almost up to Dave Hill effect, that he gets, by using Lucis Art "wyethe" filters

Noise reduction is simple-

Image>mode>Lab color:

Channels-Channel a 5pxls gaussian blur
                              b 5 pxls gaussian blur
           lightness     noise>despeckle
image>mode>RGB color

Noise reduction software damages the quality of your image

Hi, read my previous post, regards, Grizzlybear

Those steps are necessary if you do not have CS2(which has HDR) I have CS which doesn't have HDR, so I use my version of Dynamic range Increase, as shown. To boost color I would use the unsharp mask at a large radius (30-100pixels) with a small amount (5-20%) as Local Contrast Increase-this can also decrease atmospheric hazing. regards, Grizzlybear.

Don't forget a good volume of their income comes from those submitters ( probably around 20-30,000) who may have accumulated $ 50 in their accounts and may never reach minimum payout. regards, Grizzlybear

Sell your image exclusively,(including copyright) outright for not less than $3,000-regards, Grizzlybear

New Zealand is the only country in the civilized world,that grants copyright to the person that commissions the photographs,thereby robbing the photographer of his intellectual property rights. the NZPPI
(New Zealand Professional Photographer's Institute) are trying to get this law changed. Whether you can use the photos for stock,depends of the terms of service for the site you submit to-I believe most require the photographs to be your own work. Regards, Grizzlybear

Hi all, As Thumnails sell your images-saturate as much as you can get away with- a designer can't be bothered enhancing your images,if yours doesn't attract his eye, he will search for one that does,regards, Grizzlybear

Why not use Dynamic Range Increase, in the first place?

1. With camera mounted on tripod-meter sky-take shot

2. meter land/water-take shot

3. Add lighter image to darker image  as a new layer

4. Select "color range"-"highlights", check "invert" box,click "ok"

5. Add layer mask

6. Filter>Blur>Gaussian Blur 250 pixels radius

7. Flatten and save

Although I believe Professional should mean Qualified ,(for instance I have a level 6 diploma in Photographic imaging, after 43 years of photography I went back to school for 3 years to get a better handle on digital) and eaning an income, however meagre. ; Literally though, the word "amateur" is derived from the French "Amor"- For the love of it; whereas a professional gets paid. Even carrying out your business in a professional (respectable and efficient manner) could also come into the equation. To myself, if you derive money from your efforts,you are professional, It comes down to whatever you want to call yourself- my business card says "Creative freelance Photographer" and that serves me well. regards, Ken (grizzlybear)

Hi, Bob, What they meant by "No focal point," was no clear main subject, no point on which the viewer could focus their eyes. In Phot-speak "Focal-point"means literally "Point of focus" in an image, Regards, Ken

Quote from: Bateleur on February 23, 2007, 17:06

Quote from: Grizzlybear on February 23, 2007, 15:56
...  I feel Raw is just a waste of time for $0.25 a download. ...

Is that all you get?

Then I guess you're only with Shutterstock, and it probably is a waste of your time.

[

I get anything from 25c to several hundred dollars for a stock image, depending on the agency I submit to. When photographing I never know what's going to go where so I work in RAW all the time.

And I'm mystified why you think RAW so much work. I mean ... that technique of yours for correcting WB seems horribly ad hoc (to put it politely). How do you know how far to move the cyan/magenta slider at first? A random amount? All the way?

I suppose you can take a guess at it, but to correct WB really accurately in JPEG, you don't do it that way. And the proper way is a heck of a fiddle.

Yeah. Not worth 25c.

But ... hang on  ... cyan/magenta slider? What program are you using???   

color=green]yes,Sorry, my cock-up Cyan/red; until white looks white[/color]and I am with 9 sites; my main income is from Wedding/pets/portrait photography,where I will use raw processing-Regards, Ken

Yes, I have used Pixmantex Raw Shooter Pro before Adobe took them over, and I feel Raw is just a waste of time for $0.25 a download. I would rather be out shooting that stuck at a computer, regards, Ken

quote] And, as for your statement "If your exposure is "spot-on"" ... my whole point was that if you should make a mistake and forget to change the WB you can save the situation much more effectively in RAW than you can in JPEG.

But maybe you never make that mistake.

Quote

Of course I make that mistake, and I can fix it in seconds with color balance-Cyan/magenta slider one way-.yellow/blue slider opposite direction,same amount-dead simple, works every time! much faster than Raw processing, regards, Ken

Jpeg for stock, raw is too time-consuming,and you can change white balance , and just about anything else with jpeg, just as easily as with raw-if you need to. If your exposure is "spot-on",and your white balance matches the degees Kelvin, at the time of the shoot,why would you need to play with massive files that take so long to download-get it right in the camera, it's not that hard-Don't just read your manual-Read and understand your manual. Raw for fine-art, where the compensation (Dollar Value) makes a difference! " Shoot like Thomas Knoll isn't born yet!"