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No, not a tilt-shift photo, just practicing my CR2 -> DxO Optics -> DNG -> Adobe Camera Raw -> Adobe Photoshop CS4 workflow (I'm planning on using DxO mainly for the geometric corrections - they should make a Photoshop plug-in just for that).
I get asked a lot how I made the Burning Hand Shot. Here is basically my workflow from camera to finished project omitting the flames added between steps 2 and 3
you can see the final here::
© István Pénzes.
Please NOTE and RESPECT the copyright.
7th., March 2010, Distagon 50mm at the closest distance. I'm developing a bad habit to fill the last few pictures of every roll with camera porn. I'm sorry....
Hasselblad 503CW
Carl Zeiss Distagon 4.0/50
Kodak T-max 100
T-max developer 8 min. @ 19 Celsius
Coolscan 9000
This screenshot deconstructs by 365 day 31... I've never worked with textures before, but I decided that this image would benefit a textural addition.
1. I opened the original image in Ps, increased the exposure to make it a bit brighter (cancelled out by the new textures so it came back to its original exposure).
2. Opened the texture I got online and pulled it onto my image, using the soft light blending mode. I created a mask and masked off my face to keep it relatively clear (the brush had a 40% opacity I believe)
3. After doing that, I felt it looked better with a bit more contrast, so I made an S-Curve in the curves layer, and bumped the vibrance because I wanted to try the overlay blend on top on the soft light texture.
4. Same texture on the top, only in overlay blending mode, at 70% opacity, then masked out my face again on the forehead and "front" of the face to make it look like I was emerging. Again used a lower opacity on the masking brush, about 50%.
Final Shot here.
Hope this helps! I'm not claiming to be any sort of expert, that was just how I did it. This is far more processing that I usually do, I like Zack Arias' philosophy (well, I heard it from him) that you gotta get it right in camera.
...and if you have any ideas/feedback on how you'd do it, I'd love to hear!
Here I hone in the mildly interesting and really interesting shots. If I've taken multiple shots of the same subject in rapid succession, then I'll choose the best of the litter. I'll begin to start editing and cropping here and it's very often at this state that a style or theme emerges. In this particular case I started thinking about a series of square crops. I'm left with 26 photos.
Have you ever wondered how the articles get from print to you? Check out this awesome behind-the-scenes view of the JSTOR archive production process, in a comic drawn by one of our own staff members, Patrick Goussy.
Endless -Hallway in Karlovy Vary, Czech republic
HDR Workflow:
Nikon CaptureNX
Adobe Photoshop
- corrected lens distorsions and other enhancements (simmetry, added reflections)
Shot in RAW then edited with a full featured photo editor (on a mobile device), does this count as phone photography?
Take a look at this week’s featured workflow, by Luís Miguel Braga. To be honest, this is the most comprehensive workflow we’ve seen so far (... read more)
Uploaded via tarpipe.
Workflow engine for producing FastSite/landing pages from collections by Exensis Portfolio NetPublish.
Digital and Marketing Asset Management: The Real Story About DAM Technology, Regli, Theresa, 2016.
New York: Rosenfeld Media digitalrealitychecks.com/books/digital-and-marketing-asset-management
How to process "stuff". Organizing and implementing the David Allen "Getting Things Done" method (gtd.) Taken from the DA website at davidco.com/tips_tools/tip32.html. I use it as a screensaver.
Screenshot of Day CQ5 WCM Version 5.1 Released November 14th, 2008
Showing the web-based workflow editor. Design publication processes, manage tasks, orchestrate actions..
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Photographer: Chris Adval MM#: 2175015
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I've been itching to get out and shoot recently, and I finally got my first real chance of the "summer" yesterday. In some sense, the title refers both to the boulders, a long way from where I assume they originated further up the flanks of Mount Rainier, and us, a long way from our house and, relatively speaking, a long way from our car. The Carbon River Road has been closed to passenger vehicles for several years due to constant washouts, so after driving an hour and some change we parked just past the ranger station and biked 5 miles to a connection with the Wonderland Trail. Two and a half miles on foot later, we're crossing the roaring Carbon River on primitive bridges. (We did continue on up to the glacier--the Carbon Glacier is the lowest glacier terminus in the continental US--but it wasn't very photogenic due to being covered in rocks and dirt.) This is probably the furthest out in the wilderness my wife and I have been so far, but of course all it did was encourage us to think more about how much further we could get away.
(Also, I am really loving this whole merge to HDR and develop as a 32bit RAW workflow.)