Heidi West // Photography

Retouching Eyes in Photoshop

2010-05-10T07:35:00.006+01:00

I think the key to a fantastic portrait lies with the eyes. They really need to capture the viewer and draw them into the picture in my opinion, and a little bit of Photoshop can go along way to making eyes pop. Here is a small tutorial to describe my way of doing it.

Use a soft edged brush for this.
Start with the Dodge tool set on highlights (around 15% opacity) to lighten the whites of the eyes (usually after any other retouching to skin etc) and the catch light in them if there is one.
Use the Burn tool set to midtones (around 15%) to darken the pupil.
Go back to the Dodge tool and set it to midtones (15%) and lighten the iris.
Finally, use the Burn tool again (15%) set to midtones to darken around the outside of the eye. The brush size should be quite small, and try to keep just inside the eye so as not to make the whites outside darker.

And there you have it, eyes that pop. Here is an example of before and after of my mum's eyes.

Model's Needs from a Photoshoot

2010-05-07T13:30:00.004+01:00

As a photographer I know which shots looks good and I know exactly what I want in a shot for my portfolio. Friends and family get roped in to my shoots, but are not that bothered about getting a print themselves. However, I asked people I have used in my shots what is important to them in a portrait. I asked the question on Facebook, so I could get a range of people's opinions quickly.

The question I asked was "Friends and family alike, please answer this!! What are the most important things you look for in a good, professional portrait of yourself?" and I got 9 responses.

A fellow photographer said she looked for good editing, models I've used in the past said good colour, making sure the model has good skin even if she/he doesn't, and someone else said a flattering pose. A friend's mum wanted a portrait that made her look younger and slimmer, yet someone else said that confidence and a connection between the model and photographer was important to them.

This is very interesting because when I take a picture my highest priority is good lighting, professional equipment to take the picture and making the model feel comfortable. I do understand retouching is needed to be done after, but I did not realise it was so important to the model. This is key information that I will bare in mind when retouching pictures in the future.

Gritty Portrait Tutorial

2010-05-07T12:44:00.002+01:00

I decided to take a book out of the library,"The Adobe Photoshop Lightroom 2 Book for Digital Photographers" to get some ideas for portrait effects. The online tutorial is shown on Scott Kelby's blog.

I came across a tutorial which makes the portrait look very dark and moody, with all the highlights and details extremely defined. It was very helpful using this tutorial, as I do not usually use Lightroom for retouching; I tend to use layers in Photoshop. It very easy to do and I would definitely use the technique again. I changed my picture to black and white though because I think the effect for this picture just works so much better than if it had been left in colour.

The effect he used produced this picture:

I decided to try this on a photograph I'd taken of Andy, outside the church in Hartlepool.
The original is shown on the left, the gritty effect applied on the right. I think this effect looks really really good, though I do understand that it will only work on certain portraits. I shall be using the image on the right as one of my final prints.

Desaturation Example

2010-05-06T15:37:00.003+01:00

After seeing the picture from The Photo Forum, I decided to try desaturated colour myself.
I opened my chosen picture, got rid of any blemishes using the clone stamp / healing tool, softened skin using surface blur (tutorial on this later), and corrected the white balance. Seeing as multiple layers were used, I flattened the image before doing anything else.

I upped the brightness and contrast to start with seeing as my picture was rather dark. I then clicked:

Image > Adjustments > Hue and Saturation

Moving the Saturation slider all the way to the right makes the colours very very vibrant. If a bright colourful picture is what you want, move the slider to around +25.
However, I wanted desaturated colour so I moved the slider to the left. All the way left makes the picture go black and white, so I stopped around the -75 mark to give just a hint of colour. I then used the brightness and contrast tool again and got the final image.
Below is the original image, a desaturated image and a pure black and white image.

Desaturation

2010-05-06T15:06:00.004+01:00

In earlier posts I have said that because I already have a lot of black and white portraits under my belt, I wanted coloured prints. Split toning is a good way to add colour to a black and white image, as I have shown using the picture of Lucy. Another way of adding slight colour is to keep the photograph colour, but move the "Saturation" slider down in Photoshop. Not all the way down as this would make it black and white, but slightly down so the colours are rather muted. This is an example taken from The Photo Forum. Someone wanted to know what a specific camera could do, and the girl who took this explained that only a bit of slight desaturation and a cool white balance was used. I want to try this in a few of my pictures to see what effect it gives.

Textures

2010-05-02T16:20:00.002+01:00

After looking at Lara Jade's work, I have noticed that she uses a lot of stock textures overlaid over the picture to give it more depth. These include light spots, scratches and paint splodges. It is a hard thing to incorporate in to imagery but it makes the end print really exceptional. They can be used both in colour and monochrome, though care is needed when using blending modes as the colours can sometimes clash with the original picture.
Digital Photography School offers a very detailed and precise tutorial on how to use textures over a picture, though it does say techniques and blending modes depend on both the picture and the texture you are using. I used the tutorial and the end effects produced this:

I think using textures suits some pictures but not others, and I do not think it helps this picture in the slightest. However, this tutorial is something to keep in mind for the future, if I ever want to try textures again.

Split Toning

2010-05-02T15:17:00.003+01:00

I used the step by step guide on split toning from Tutorial Pulse to create the picture below. This was a very natural pose by my friend Lucy against the brick wall of her house. I changed it to monochrome and added purple highlights with blue shadows. I think this works really well as it gives the black and white portrait colour, without being too contrasty. I might not use this technique for all the pictures for this project, but I will certainly experiment with different colours on different pictures.

Guide: Making A Digital Polaroid

2010-03-08T12:37:00.002Z

I decided to give the Men's fashion print a bit of a funky look, so I made the pictures into digitally created Polaroid pictures, totally using information I'd collected myself. This is a guide to creating them, my way!

Open the image you want in the Polaroid frame.
Get rid of any blemishes, scratches using the clone or spot-healing tool.
Make any contrast / saturation changes if you want to make the picture look like a Polaroid
When done, use the Selection tool and while holding the Shift key, drag a square around the part of the picture you want in the Polaroid.
Go to Selection > Modify > Feather, Radius 5
Go to Edit > Copy
Click File > New > Size 8.8 x 10.8cm
Click Edit > Paste
Move the new layer so the border around the top and 2 sides are equal, with a bigger space underneath.

That's pretty much it, unless you have a white background in your picture, in which case go to the Blending Options on that layer and add a small line around it using the Stroke tool.

Here is one I just did, using this method:

Guide: Layers

2010-03-08T12:31:00.002Z

This walk-through demonstrates how I achieved the different layers to get the shoe print.

• Open image
• Get rid of any blemishes / scratches using the clone or spot-healing tool

For this particular print I decided to use a white background to put all the layers into, but decided to use a peach background around the different segments of shoe, so they would stand out. I set the background colour to peach using the dropper tool, and then erased the shadows and highlights around the shoe, so the background showed through.

• Use the Selection tool to select the parts of the image you like.
• Click Edit > Copy
• Click File > New and set the dimensions to 29.7cm x 42 (A3) with a white background
• Click Edit > Paste, then move the new layer to where you want it. If you need to move it again, either press the small arrow icon at the top of the tools pallet or press CTRL and T (or Command and T if on a Mac)
• Do this with all the different pictures you want to layer into the print
• If you want to move 2 or more layers together, use the little lock symbol next to the layers in the pallet. This chains them together and moves them simultaneously.

If you wish to add a shadow to the layers to make them stand out from the background, simply double click on the layer to open the Blending Options, and check the box Drop Shadow. Click on the title, and you can make changes to the size, spread, angle etc.

Pasting different layers into an image is very easy, the hardest part is getting the right parts in the right place. After much work though, it does look effective.

Guide: Selective Colouring

2010-03-08T12:19:00.003Z

This is a step-by-step guide on how to get different tonal effects in the pictures you take, using Photoshop’s Selective Colour tool. I used this particular tool in the Polaroid shots of Andy. It is good for adding colour to black and white pictures, but is also good to give colourful pictures a slightly different mood.

• Open your image
• Get rid of any imperfections using the clone or spot-healing tool.
• Click Image > Adjustments > Selective Colour
• Where it says “Colours”, click the drop down arrow and you will get a list of different colours. Whichever color you wish to change in your picture can be selected from this drop down selection.

If you have trouble deciding on what look you’re wanting, just try moving the sliders on different colours and experimenting first. It helps writing down what you did though, so you can achieve the same look again without too much trouble.

I chose this picture to demonstrate the different kinds of effects you can achieve.

Original:

Desaturated then set to Whites > Cyan -33 > Neutrals > Cyan +8, Yellow +9 to achieve this:

Kept the colour, but used Selective colour to pick out the blues and cyans, then made the black parts really dark to achieve this:

Again, kept the colour, but increased the Whites to make them more yellow, then added magenta to the neutrals to get this:

Mostly, Selective Colour is trial and error, but the above examples give you an idea of what kind of effects you can achieve with the tool.

Studio Session: Screens

2010-02-04T16:02:00.007Z

So this week I learnt that the studio has been booked out for us to use every time we have a lesson, so me and my friend Andy decided to get our things together and organise a shoot for today (we had professional studies yesterday, so today was our best chance.)

I wanted to do some tests of cakes, so I know how to set up the lights for when I do the more expensive foods, like oysters. Andy brought in some toys he wanted to do tests of, but when we got into college, we found we actually had a lesson! Best laid plans and all that...

Anyway, today we went into the studio and found a set all ready set up; a green paper roll against a wall provided a colourful backdrop, 2 lights on tripods and the Hasselblad and Mac set up in front. He explained that using a big soft box gives you no freedom, light wise. The light cannot be moved away from the diffuser, nor does it cover the whole diffuser in even light. By attaching a screen to a tripod, lights can be put behind it, moved backwards, forwards, can be tilted etc, etc. There is so much more freedom. So, the lesson started with us all putting one up (very successful, no problems at all.)

We then ended up taking portraits of each other. A stool was set down in front of a paper roll stand. A white box with a black piece of fabric over it was placed in front of the stool, so the models had something to lean on. The boom was set up with a dish on it, and was set shining down on to the model from above, through a screen set on 2 tripods, one each side of the stool. A pink piece of fabric was thrown over the paper stand (later on the green paper roll made a re-appearance) and Andy sat in front of it so we could take his picture.

Here is the lighting diagram:

We did end up putting in a hair light behind the model (the snoot) and we started with a light behind the pink fabric we draped over, but took it out when we used the paper. We took the strip light off its stand a laid it on the floor, tilted up at the background so the light hitting it would be graduated.

I wish I had an example to show, but I didn't actually take any pictures, so it would be wrong of me to include them. However, I am learning that using one or two lights are usually enough to experiment with; I've learnt that screens are awesome to use instead of light boxes, as the light onto it can be controlled far easier, and I've learnt that colourful paper rolls on stands are soooooo much better than plain white or plain black backgrounds. Would have liked to have known how easy it is to put them up earlier!

Almost forgot, we have decided to book out a small studio space on Tuesday morning for our food / toy shots. Very looking forward to it actually, I just need to buy more cakes :P

More research coming.

Lecture: Photography & Shadows

2010-01-12T15:25:00.004Z

Today's lecture was directed towards looking at shadows in photography. They can be used to create atmosphere if included in the shot, they add depth to the picture and make things 3D and if they are not included in the shot, there is usually a good reason why.
We had to go to the library and find some examples of shadow photography. After getting there last (and having a lengthy search) I finally found a couple of examples out of "The Photo Book".

The first picture I found was taken by Martine Franck in 1976, "Le Brusc, South Of France" The picture is below. This picture is a great example of a distinct shadow, but one that is separate to the subject. The photographer has cropped the image to make sure that the shadow underneath is not attached to anything at either side, making it almost look like a reflection rather than a shadow. This picture however has been taken on location and I did not find a picture like this that had been taken in a studio.

The other image I found was by Jaromir Funke, "Untitled" 1927, shown below.

This picture consists of only shadows, and no actual objects. This was probably done in a studio due to the amount of control in the lights and the position of the glass bottles, though I can not be sure. I love it in black and white as it adds to the mystery of the picture; as there are no actual objects in the picture; one wonders how shadows can be this alluring and interesting to look at.

Shadows are not something one would normally include in studio work; as you have a large white background you sometimes expect to keep it that way. This little bit of reseach shows that shadows can be a good thing and add things to a picture rather than taking focus away.

Awesome video!

2009-11-29T23:45:00.002Z

Lighting Diagrams

2009-11-11T19:03:00.006Z

I was talking to Andy the other week and he gave me the link to a website that helps you create lighting diagrams.

To do this, you select the things you want in the diagram and drag them to where you want them. Once there, you can turn them around to get the angle correct. To save the picture, press the Print Screen button on the keyboard and open in it Paint. You can then add text to label the different things in the image. It is a very good website, but there was no icon to resemble the sun or a window for natural light, so I used the icon for a Tungstan light symbol instead. Below are a few diagrams to show the lighting set ups I used for some of my shoots. I have not used any studio lighting in my work, just natural light, so they are rather simple diagrams.

>>

And:
>>

29/10/09 - Liquify in Photoshop

2009-11-01T21:53:00.003Z

I went into the mac room today after taking pictures of the church with the 5x4 camera, and found Phil, Kirsty and Claire editing a photograph in photoshop. It was a portrait of a couple on their wedding day, and Phil was showing Kirsty how to get rid of wrinkles, smooth skin and thin down the models. I asked him how he was doing it, and he gave me the link to a video on Youtube. The man giving the tutorial starts with an average looking portrait of a blonde lady, and by using the Liquify filter on Photoshop, he thinned down her waist, tilted her head so it was straight and got rid of any imperfections. The best thing about this is that it shows you in a step by step guide on how to do it. The maker of the video even makes keyboard shorcuts pop up in the bottom left of the video to make things quicker. I shall be having a look at his other videos, here, and I think everyone else should to!

Flash and Manipulating Lighting

2009-10-11T14:51:00.008+01:00

On Thursday, the class went out to Hartlepool Headland with the Hassleblad and Phase One back, a portable Bowens light and a battery pack. The idea behind the lesson was that even on a sunny day, the lighting can be manipulated to look like evening. By making the light from the flash overpower the background, it blackened the sky even though it was a very sunny day. the image below was taken on my own camera at the right exposure with no flash. This is a comparison between the flash and the ambient light together in a picture, and manipulating the camera to only react to the flash.

For example, I set up the flash and the 'Blad at the same f-stop by metering. The shutter speed was the only setting I had to change. I started at 1/500th of a second with the ISO set at 100 (1) The ambient light (the light from everywhere but the flash) is altered dramatically when set on a really high shutter speed. On picture two, the shutter speed was 1/125th second and picture 3 the shutter speed was 1/30th second.

(1) (2)
(3)

I learned a lot about which settings to have and how to achieve this outcome, but I also had a good chance to set up the light and camera properly which I'd not really done before. A very successful exercise me thinks.

The Flash Center // Elinchrom

2009-10-07T00:31:00.011+01:00

Today we had a fabulous demo from The Flash Centre representatives. They were showing us the Elinchrom lighting systems for studios, and it was a really good lecture. They were trying to sell their product to us (which, if I had the money, I would totally buy because it is amazing) but not only that, Chris talked us through good lighting techniques for studio portraits, how to use all the different accessories (and why its good to use them) and all sorts. I wrote 4 pages of notes!! (these are notes that I have written based on the lecture from Chris Burfoot.)

I shall try to be brief but honestly, I think the tutors at uni should take some pointers off the guys who came in today. That's the best lecture I've had yet!

Elinchrom
Swiss manufacturer of lighting since 1967
-high quality, excellent value

The Flash Center
Importer and distributor of Elinchrom since 1980, and are now serving professional photographers in Leeds, London and Birmingham.
-They are a small firm, they only emply around 30 members of staff. Everyone gets listened to!

Why Choose Flash?

Speed
Power
Cool in temperature
Daylight balanced

In 2008 they launched the BX 500 RI flash heads shown below :

Only 2 wires inside the light, the rest of the electronics is made up of circuit boards
Makes the light cheap, easy and environmentally friendly to repair.

In 2009 they launched the Ranger Quadra RS (portable flash)

Daylight balanced
3 hours run time
LED light runs at a cooler temperature than a bulb

They are currently looking into using UV lights in the Ranger Quadra to assist forensic professors and the forces.

Chris Burfoot (was one of the lecturers who took us on a step by step guide on how to use the lights;)

Has been teaching lighting for over 25 years
Lectures for the Royal Photographic Society (RPS), the Master Photographers Association (MPA) and the Society of Wedding and Portrait Photographers (SWPP)

The Basics
Shaping Light - Hard? Soft? Diffused?
Fill Light - Reflectors? Second source?
Monoblock - flash head plugs straight into the mains

Chris told us that any accessory (old and new) will fit on any of the Elinchrom flash heads. However, only the Elinchrom branded accessories will fit on their kit. (A bit like Canon lenses only fitting Canon cameras.)

They have a basic flash head kit called D-lights, and a more professional kit called...

The BX Range.

Has a better flash ring inside, as the power is distributed from 2 points (that are opposite each other in the tube).
Means that the flash only has to travel halfway around the ring, so it is faster than the D-light range.
Has slave cells (so when one flash goes off, it sets the other one off at the same time.) These can also be turned off manually.
Can be used controlled with infra-red triggers (no cables between the camera and the light. Is also picked up by the slave cell) and also radio controls (see more detailed description below.)

Flash duration is important when taking photographs. If the flash takes a long time to go on and then off, you're pictures will not be very good as slow shutter speeds will be needed. If the flash is very fast, your photographs should be sharper because you can use faster shutter speeds.

There are digital buttons and a digital screen on the back of the BX lighting range. The BX250 RI for example, has a maximum power of 5.3. When you need to change this to get the right f-stop on your camera, simply press the buttons (either up or down) 10 times for a full f-stop higher / lower. This is very accurate as you can change the numbers by 1/10th of a stop each time, and you can be certain that once you've pressed the buttons and got your final f-stop, you do not have to go back and meter to make sure. It is that accurate, that you do not have to keep double checking. Time efficient much! The modelling lamp (that is used as a guide) changes power when the flash is changed (although the lamp can be altered manually)

Radio Controlled Flash

Fits onto the hotshoe of camera and can be used outside.
Can control the power of the flash
As 4 lights are usually used in a studio scenario (A main light, fill light (or reflector), a back light and a hair light) the radio controller can control all four of these by putting them in 'groups'. By flicking between group 1, 2 3 etc the controller can control the power of each one, then change the dial to 'all' and press the trigger and all lights go off at once.

As these flash heads are made in Switzerland, when the beep goes off to let you know that they flash is ready, you know that it has been charged to 100% (apparently flashes can be used when only charged at 80%, but Swiss standards say that flashes can only be used once they have been charged up to 100%)

Lighting Techniques

Transfer Edge - the line between shadow and light:
Hard line = high contrast
Soft line = low contrast

The bigger the light source, the softer the light.

Hints and Tips

"Custard Pie Lighting" - light hitting the face flat on and giving exposure all the way around. Not flattering, don't do it!
Put reflectors (in holders) really close to the subject, otherwise they do not really work.
Umbrellas are fabulous light accessories...(Chris's words, not mine!)
F8 or F11 is the best f-stop to use for portraits, as it gives a good depth of field (subject in focus, background blurred) and uses the best part of the lens (the most part in focus) for the picture.
Honeycombs are the best for lighting backgrounds as they give a controlled pool of light with a graduated edge. Accessories can also be added to hold gels which can change the colour of the light.
Meter for the mid point in the graduated edge to get this effect behind the model.
Elinchrom soft boxes are very easy to put up, just push out the arms. You don't have to fiddle around bending the arms to put them in.
Rotalux branded soft boxes come in various shapes and sizes. The largest octagonal soft box (if the photographer stands in front of it) can act like a ring flash, and the catch light in the model's eyes can be achieved by doing this.
Beauty dishes are very large metal discs with a plate of over the flash. It is placed over the model at the front to smooth the skin and get rid of shadows.
A triflector underneath the model reflects light around the underneath and sides of the face, but results in 4 catchlights being reflected from the model's eyes.
When metering the light, take the reading from the part of the body closest to the light, so this part, the brightest part, is not burnt out.
When deciding on a background colour white and black are a must, but grey also holds coloured light really well. White tends to reflect it too much and black tends to absord too much. Mottled grey holds colour and provides a texture.
Use more that one coloured light for a dynamic background colour.The Octagonal 1.9m soft box

Ring Flash

Is a flash gun most commonly used for macro photography. It fixes onto the front of the camera around the lens, which provides shadowless lighting on the subject. In the fashion industry ringflashes are really big to provide quality catchlights and flawless skin.

White Backgrounds

Underexpose a white background and it will turn out grey; over expose it and it will bleed onto the subect back and burn out their outline.
Light the background 1/2 or 1 f stop lighter than the main light for a pure white background.
If the background is grubby or creased, more stops are needed to burn them out.
Fill light should be 1 f stop less that the main light
Meter to where the cam is going to be with both fill and main light on together eg. 8.3
Turn both lights down by 0.3 to get a perfect F8.

And there you have it. That must have been the longest blog post in history, but it needed to be done. I've learnt an awful lot from the lecture, and would love another lecture like this one in the future.

Photography and the Law

2009-10-05T15:48:00.002+01:00

In a lecture last week we were told to do some research on photography and the law today. Things to look at included the terrorism act, what to do if a police officer arrests you and policies on photographing in public places in general.

After being grouped with a few other classmates and talking with the other group in the class, we found out a few vital things.

Photography and Section 43 of the Terrorism Act 2000

Police officers can only stop and search a person they reasonable suspect to be a terrorist under Section 43 of the Terrorism Act 2000.
Digital images can be viewed as part of a search under Section 43 to discover whether the person has in their possession anything which may constitute evidence that they are a terrorist.
Cameras, film and memory cards can be seized if the officer reasonably suspects that these may constitute evidence that the person is a terrorist.
Officers do not have the power to delete any images or destroy film.
Once cameras or other devices are seized, to preserve evidence, officers should not attempt to examine them further.
Seized cameras and other deivces should be left in the state in which they are found in, and forwarded to appropriately trained forensic staff for forensic examination.

Photography and Section 44 of the Terrorism Act 2000

Powers under this section of the act enable uniformed police officers to stop and search anyone in an authorised area for the purposes of searching for articles in connection to terrorism.
The powers should not specifically target photographers.
Section 44 does not prohibit the taking of photographs, film or digital images in an authorised area and members of the public and the press should not be prevented from doing so in exercise of the powers conferred by Section 44.
If a police officer already suspects the person to be a terrorist they should use section 43 guidelines to view images.

Photography and Section 58A of the Terrorism Act 2000

this offence concerns information about persons who are or have been at the front line of counder terrorism operations, namely the police, the armed forces and members of the security and intelligence agencies.

An officer making an arrest under section 58A must reasonably suspect that the information is of a kind likely to be useful to a person committing or preparing an act of terrorism. An example might be gathering information about the person's house, car, routes to work and other movements.
It is a statutory defence for a person to prove that they had a reasonable excuse for eliciting publishing or communicating the relevant information.
Legitimate journalistic activity (such as covering a demonstration for a newspaper) is likely to consititute such an excuse. Similarly an innocent tourist or other sight-seer taking a photograph of a police officer is likely to have a reasonable excuse.

I'm A Photographer! Not A Terrorist! // Article from the BJP

Your Rights:

If you are stopped and searched under Section 44 of the Terrorism Act you do not have to give your name, address, date of birth, DNA, reason for being there or where you are going, or comply with any attempt to photograph you (although you can not flee the scene.)
You do however have to give your name and address if they do decided there is reasonable suspicion.

Police Powers:
Police in uniform are entitled to:

pat you down
detain you for the duration of the search
remove outer clothing
require you to remove any item that they think may be concealing your identity
look through your pockets and anything else you are carrying
seize any article he reasonably suspects is intended to be used in connection with terrorism
search your vehicle and anyone in it.

What you should do:

insist on a written record of the search
make sure it is legible and includes details of the officer's shoulder number and the reason for the stop
note exactly why they said you were being stopped and searched - this may be more extensive that then reference in the record slip
ask to see the officer's warrent card and note the number (this is useful when making a complaint id they have moved stations and their shoulder number has changed)

NOTE: A Police Community Support Officer (PCSO) may not perform a S44 search without a police officer present.

Other Laws:

It is not against the law to photograph police, vehicles or equipment, unless the images are "likely to be usful to a person committing or preparing an act of terrorism."
Using a tripod or other equipment on a public right of way can be considered an obstuction. Simply standing still on a public right of way can also been seen as an obstruction in certain circumstances.
Although it is rarely used, the Official Secrets Act prohibits photography that threatens the security of the state. This includes military transport, railways, roads, power stations, and generally anywhere that has been prohibited by the Secretary of The State.
You can photograph private properties if you are on public property or a public right of way.
Restrictions on private property may not always be obvious, but still apply. They can not be imposed after the photography has occurred.
Private property owners or their agents / security guards may not view or delete images on your camera or demand your name and address. They may however ask you to leave without giving any reason if they choose too.
There is no right to privacy in a public place, however, there are circumstances in which a person does have privacy, particularly if they are inside their own homes. Children's privacy is particularly protected.

Perspective Correction in Photoshop

2009-04-02T13:01:00.003+01:00

Here is a step by step guide on how to correct perspective in Photoshop. Again, this was found by searching on Google. I take no credit for this information, or any information taken from any website for that matter. The link, as always, will be posted at the bottom of the quote. And just so ya know, I will also be posting a bibliography (which will include all quotes and research sites) when this project has finished.

Anyway, here is the guide.

Part 1: Simple Perspective correction

The Photo has to be in 8bit mode.
Resize the photo that you have plenty of gray space surrounding it
Select all (CTRL+'A')
Menu: Edit->Transform->Perspective
Drag the upper left handle and move it to the left until the image looks good for you (this photo was intentionally a bit under corrected)
Photoshop renders a preview pretty fast. Don't be afraid of the quality the final rendering will do much better
Once the photo is ok hit "Enter" and Photoshop does the final rendering
Deselect the image (CTRL + 'D')
Ready!

Part 2: Refined Perspective Correction

Again prepare your image as you would usually and perform steps 1-6 as above. You get the following result (don't hit "Enter" yet).
Menu: Edit->Transform->Skew
Drag the the upper right handle to the right to get the right part better in parallel
Drag the upper right handle now up that you get the top better aligned
Hit "Enter" and Photoshop does the final rendering
Deselect
Crop the photo

http://www.outbackphoto.com/workshop/PSPerspectiveCorrection/PhotoshopPerspectiveCorrection.html

5 x 4 Camera Research

2009-04-02T12:47:00.004+01:00

So, I thought I'd update with a little bit of research on 5x4 cameras. We did get a hand out, but that is in my professional studies folder.
So, after typing 'the uses of 5x4 cameras' into Google, I found a site that had a very brief but accurate description of how they can be used.

5x4
"5x4 cameras as the name implies use film that measures 5"x4" (127mm x 102mm), give superlative quality, and are where our business name comes from. Rather than on a roll (as in 35mm or 120) the film comes in single sheets cut to size; so the film is often called cut film, and the cameras "cut film cameras."

The cameras consist of four main components:

A frame to take a lens in a panel - known as the front standard
An identical frame to take a ground glass viewing screen which also acts as a clamp to hold the film holder in place. This frame is called the rear standard.
A rail on which the front and rear standards can slide.
A set of light tight bellows to go between the standards.

Because of the single rail these are known as monorail cameras. (There are also flatbed cameras with a plate replacing the rail. Rarely used now, the press version of these can be seen in old movies showing press photographers in the 1930s and 40s).
The monorail camera is rather like an optical bench. The standards can be moved off axis - to the left or right (called shift), up and down (called rise and fall), swung aroung a vertical axis (swing) or a horizontal axis (tilt). These are collectively referred to as camera movements and can be used to manipulate the plane of focus, perspective and so on. All of which results in the large format camera being the most flexible and useful of tools, enabling superb quality images to be produced."

http://www.camera54.co.uk/Equipment.htm

This sort of camera is perfect for taking pictures of architecture. As both the lens at the front and the plate at the back can be raised and tilted backwards, it corrects the perspective of the building. This means that instead of the sides of the building being off centre, it keeps the sides straight without cutting off any of the top of the building.

However, as it takes slide film, and I do not have long to photograph the buildings, I think I will use my digital SLR and correct the perspective in Photoshop. This does seem like cheating, but it's quicker and cheaper!

I will now try and find a tutorial on how to correct perspective in Photoshop, again using search engines.

An update...

2009-03-19T20:53:00.002Z

I handed my project in a week ago and got the marks back today.
Before I let ya know how I did, the project was split up into 12 different genres of photography. We had to choose 7, produce at least one image for each genre, present them professionally and produce a research journal on development of ideas etc etc.

For my 7 categories I decided to do
* Architecture
* Beauty
* Fashion
* Food
* Landscape
* Portrait
* Product

I thought these went okay, but overall I got 55% (5% down on how I did on the last module.) I thought my journal was better this time, but my prints weren't as good as I'd have wanted them to be. I am rather disappointed...
However! We get the new project set tomorrow, so it'll be onwards and upwards!
The only thing is, I think it'll be based on buildings, and to be honest, they're not my subject matter of choice.

Watch this space! More info tomorrow!

Hello!

2009-02-12T15:10:00.001Z

Hello and welcome to my new blog!

First, a little bit about me;
My name is Heidi West, and I am 19 years old.
I have been a fan of photography for a long time; I have had 4 years experience of both traditional and digital methods, and I am currently in my first year of studying Commercial Photography at the Cleveland College of Art and Design, based in Hartlepool.

My tool box includes:
* a Canon EOS 350D and a 50D
* a 18mm - 55mm lens
* a 18mm-200mm lens
* a 60mm macro lens
* a Sekonic L-308B light meter

I do prefer to shoot portraits or fashion shots, but drop me a line and I will happily photograph anything!

Thank you for looking at my site; if you have any questions or would like to know more, feel free to contact me:

Email : heidi.west@rocketmail.com
Mob : 07835904236