In the world of artistic photography, double exposures can result in some very interesting stuff. Some can be well thought out compositions with shapes and exposures meant to compliment the other frame. Others can be happy accidents that exhibit a magic mixture of luck and randomness. In either case (and any case in between), a good double exposure catches the viewer’s attention and presents a distorted reality that would not be possible to see without a camera.
Here are a few tips to get you started with double exposures.
Pay attention to shadows and highlights in each exposure. You’ll notice that large areas of shadow on one exposure will allow the highlights to show through from the other exposure. If you line up shadows on both exposures, you’ll get little detail due to underexposure. If you line up highlights from both exposures, you’ll get a faded looking image with low contrast.
Try to keep at least one of the exposures rather simple. Two busy exposures will typically result in chaos and make everything harder to see (unless chaos is what you’re going for).
To create a “ghost”, put the camera on a tripod and take the first exposure. Then remove or add objects or people and take the second exposure without moving the camera.
If you wan to go the film route, don’t forget to underexpose by one stop for a double exposure (2 stops for 4 exposures, etc). And make sure you know how to double expose with your specific camera.
If you want to go the digital route, one method is to underexpose as you would with film (or do so with post processing) and apply a screen layer blend (which essentially mimics the process of projecting two slides onto one screen). More details on the digital process in this article: Digital Multiple Exposure.
And most of all, experiment and have fun with it. Over time, you’ll get a sense for how the two exposures work with each other and you can really start to form the final image to your intent.
And here are some pretty awesome multiple exposures from Flickr. Most (if not all) of these were done with film. If you have some double exposures of your own (and/or tips for double exposing), drop them in the comment section below the article.
Digital cameras are packed with lots of great features and spiffy enhancements. But a lot of the goodies are big culprits when it comes to power usage. And there is no worse feeling in the world than having your digital camera battery run down in the middle of a crucial shot.
While you can quickly stop and put a fresh battery in, you can’t always go back and recreate what would have been a great moment for the camera. And even though you may have a few backup batteries, the real trick is to maximize the life of the one that you’re using so you can get the most shots per charge possible.
Here are some things you can do to help get more out of your battery’s life.
Give your LCD screen a rest and use the optical viewfinder. What ends up happening is with each picture you take, it will appear on your digital camera’s LCD screen, eating up valuable battery power. Looking through the viewfinder saves your power for taking more pictures. Of course, be aware that what you see on the viewfinder isn’t exactly what you’re going to see on the actual picture. Some of the scenes to the sides of the frame may be cropped off so make sure you’re focused on your subject if the LCD screen is off.
The same idea applies to previewing pictures on your LCD screen. Taking a picture, then pulling it up on the LCD screen to show your friends is a wasteful use of battery life. You can save more power by only looking at a previous picture on the LCD screen if it’s going to help make the next shot better. Save the photo sharing for when you’ve uploaded your pictures to your computer or burned them to a disc.
If leaving the LCD screen off isn’t practical, look at lowering the screen’s brightness to save power. Lower it to an acceptable level, remembering that you may have difficulty in bright sunlight viewing the screen. Shade it with the palm of your hand if this is the case.
Using your camera’s menu function, try adjusting the “sleep” option. What this will do is put your digital camera into a power-saving sleep mode after a designated period of time, but it still remains ready to be used and can usually be “awakened” by touching one of the camera’s function buttons or the shutter. You may even be able to leave your digital camera in sleep mode to squeeze more shots out of your battery’s charge.
Use the single focus feature whenever possible. You’re asking your battery to work that much harder when your camera is using continual focus, and that feature is really only necessary if you’re taking pictures of subjects with lots of motion – say, children playing or maybe shots of a sporting event.
Many amateur shutterbugs find themselves playing with the zoom out of habit. Use your zoom sparingly. The motor that zooms your camera’s lens in and out is another unwanted power drain, and you should only use it when you’re ready to shoot.
Only press the shutter button when you’re ready to actually take a picture. Pressing it halfway puts the camera into a preparation mode that drains power because it thinks it’s about to take a picture and needs to be ready – and it gets ready by resetting and refocusing the camera – a big expense of power.
Don’t charge your battery if it still has a relatively strong charge. This can diminish a battery’s ability to hold a charge, and that is something you will start to notice when you begin getting fewer shots per charge. Avoid dropping the battery too. This can affect its polarity and therefore its ability to properly charge.
If you’re shooting pictures in cold weather, keep your camera warm by keeping it close to your body. Colder temperatures cause batteries to drain faster, and your body heat can help battery performance remain at optimal levels.
Save the video clips for a video camera. Recording and playing back video clips eats up lots of power, and if you’re really wanting to shoot videos, get a camera dedicated for that use.
Don’t go cheap on the recharger. It’s true with some things you get what you pay for, and battery chargers are one item you don’t want to skimp on. A good charger will extend your batteries’ lives and charge them more efficiently.
Keep spare batteries handy, and rotate through the batteries you use so they all get used as equally as possible. This helps to ensure that battery life remains constant from battery to battery, and more importantly it also means you’ll grab a battery that’s been recharged, instead of the dead one you kept forgetting to charge.
Use the flash only when necessary. Most professionals will tell you that the flash on digital cameras don’t really add anything to a picture anyway, even at night.
Wait until you’re back safely at home before you start deleting pictures. Deleting shots only drains more power, and you can get rid of unwanted pictures after you’ve uploaded them to your computer for review.
If you’re using lithium ion batteries you’ll get more life out of them by making sure they’re charged completely and regularly. Lithium ion batteries typically hold a charge longer than regular alkaline batteries too.
When storing your camera for a week or more, remove the batteries to prevent an accidental discharge.
These battery maintenance tips will help you dramatically extend the life of your battery, while getting the most out of each charge. They’ll help you prolong your enjoyment of your digital camera. And they’ll help you and your camera to always be ready to take a great picture – no matter when the right photo opportunity arises!
September Challenge PhotoChallenge.org
It’s still not to late to join in the September Challenge. Each week will be a different type of portrait to shoot.
5 Useful Upgrades In Photoshop Lightroom 2.0 digital Photography School
If you haven’t upgraded to Lightroom 2.0 yet, here are five good reasons to do so. This latest release has a lot to offer, and it has a lot of photographers talking about it.
debate 2008: digital vs. film quality Pro Photo Life
Our pal Jim Talkington got himself into a whole lot of extra work when he compared a film and digital photo of the same scene. All the film gurus came out of the woodwork and Jim plans to redo his experiment with their suggestions. I’m looking forward to this…
Are the Masses Unhappy With Adobe? PhotoWalkPro
Jeff comes across a neat website where Adobe users complain about the products. In this post, he recaps the top 10 complaints for Photoshop and Lightroom.
I’m almost a full day late with this post… I picked up 7 rolls of developed film this morning and I’ve been busy scanning all day. By the way, does anybody out there have a good solution for scanning 110 film?
The sixth episode of the PhotoNetCast is ready to go! This one is a great discussion about the film vs digital topic. The four of us have very different backgrounds and experiences with each medium, and this resulted in a good array of thoughts on the subject. We tried to cover the ups and downs of each medium along with our personal experiences.
In addition to the main topic (just the one this time), we offer up a few links to some interesting things we found over the last few weeks. In total, this one is nearly 70 minutes long, but we didn’t want to cut off the film/digital discussion because it was such a lively discussion.
Some really cool stuff going on out there this week!
Perennial Images Tim O’Rielly
I was in Little Italy today dropping off some film at my camera shop and I encountered another photographer shooting in my general vicinity. I struck up a conversation with him and he turned out to be a pretty interesting guy. He’s mainly a travel photographer and he likes to focus on people in their environments. Check out the photos in his website — this guy’s been all over the place!
Over the course of seven articles, we’ve covered many features of Adobe’s file management software: Bridge. The links to each article are listed below, along with short descriptions of the content contained. And don’t forget to bookmark this page so you can refer back to the series later!
Oh, and one more thing… I found a nice collection of videos that cover various aspects of Adobe Bridge. So even if you’ve read through the articles, be sure to check them out again and watch the video I’ve embedded at the bottom of each post.
PART 1 of this series covers basic introductions to the software and the concept of using Adobe Bridge as a photo management tool. We explain what the software is, what it can do for you, why it’s better than other software, and some basic computer requirements for running the application. If you’re totally new to this software or if you’ve never even tried it, start here and get your bearings.
PART 2 of this series covers the concept of workspace within Adobe Bridge. We take a look at some default workspaces, the parts that make them up, and how you can use those parts to define your own custom workspace. Having a solid understanding of your worspace will present you with an increased comfort level with the software, thus increasing your productivity and effectiveness.
PART 3 of this series goes into importing photos from your camera and a few features of Adobe Bridge that are associated with this action. Each of the options within the import dialog are covered in detail, and we look at metadata templates and how they can be used to automatically apply extra information to your photos.
PART 4 of the series talks about preparing our photos after import and before processing. We go over some basic workflow topics such as deleting photos, applying location metadata, basic keywording, and batch renaming of the files. Though not all of these steps are critical for every photographer, they are presented as a method of good practice.
PART 5 in the series introduces the notion of bulk processing photos. Not intended to be an in-depth guide on the Adobe Camera Raw software, we walk through some of the basic adjustments that you’ll need to make your photos look better than when they came out of the camera. We also look at a method for applying image adjustments without even opening the files in ACR.
PART 6 covers more detailed methods of organizing your photo collection. We look at some of the tools available in Adobe Bridge such as the star system, labels, and search functions. And as an extension of search capabilities, we talk about how to create collections and a few possible ways to use them for organizing and maintaining your archive.
PART 7, the final installment of this series, lays out various tools and tricks not covered in the previous 6 discussions. We look at a few different ways of applying keywords, a more detailed discussion of the keyword panel, a good use for copy & paste functionality with ACR settings, batch processing with Photoshop via Bridge, and using stacks for those larger photo shoots.
So if you haven’t been following along with the series, start digging in! And if you have been following, are there any major points that I missed or need to clarify? Any other questions about the software or my workflow?
In the last part of this series, we went over Organizing your photos with Adobe Bridge. That marked kind of an endpoint for my basic workflow, but I still had a few Bridge features that I wanted to talk about and expand upon.
This article will cover the Bridge keywording features, more productive ways to process RAW files, taking care of dust bunnies, hooking into Photoshop’s batch processing feature, and clearing up some visual archive clutter with stacks. This article also marks the near end for the whole series, and the final article will recap everything we’ve talked about.
Back in the File Preparation article, I briefly mentioned keywording, but I didn’t talk a whole lot about how to do it. Keywording can be done in one of two ways with Adobe Bridge: typing semicolon-separated keywords into the Metadata Panel or clicking the check-boxes in the Keyword Panel. I use both methods depending on the situation.
Keywording via the Metadata Panel is generally faster than searching through lists of keywords that you have archived. The problem with using this method is that it can’t be used when you have multiple images selected that already contain different keyword values. In the “Keywords” box you’ll see “(Multiple Values)” rather than the keywords. If you type anything in that box, you replace whatever information was there with the new information. So this method of keywording is good for groups of images with no previous keywords or single images regardless of their keyword situation.
Keywording via the Keyword Panel is a little slower than typing things by hand. The nice thing about it, though, is that it can handle adding keywords to multiple files with pre-existing keywords (even if they’re different from each other). The other great thing about the Keyword Panel is that it serves as a keyword archive and it sort of reminds you to use keywords that you may have otherwise missed. I’ll typically use this method of keywording for the more detailed work after the images have already had a first coat of keywords.
USING THE KEYWORD PANEL
Organizing the keyword archive is fairly simple, but it’s not a completely automated process. When you keyword things by hand in the Metadata Panel, Bridge makes a note of this and places these keywords and phrases in your Keyword Panel under “Other Keywords”. These keywords can be moved around and stuffed into other categories for permanent archiving.
To create a new category, simply click on the plus sign at the bottom of the panel for a “New Keyword”. This inserts a top level keyword that can be used as a category or grouping for other keywords. Once you have some top level keywords, you can add “New Sub Keywords” by selecting they keyword you want it under and clicking the plus sign with an arrow next to it. Sub Keywords can even have their own Sub Keywords, as shown in the screen shot for my “film” category.
Moving and organizing existing keywords is simply a drag-n-drop operation. Keywords can also be renamed and deleted. The easiest way to build up your keyword archive is to do it as you go. Don’t bother spending hours plugging in keywords that you think you’ll use later — make good use of your time and do it while you’re actually keywording photos. And one last tip for the Keyword Panel… try to keep your keyword groups filled with less than 10 or 15 keywords. Any more than that and you can probably create some new sub-groups. Too many keywords in one list only makes it more difficult to find them.
Do your keyword archiving correctly and adding those words and phrases will be a snap. You’ll be amazed at how many keywords you would have forgotten if you hadn’t run down your list and started diving into your categories and sub categories.
COPY AND PASTE ACR SETTINGS
As I mentioned in the File Processing article of this series, you can process multiple images inside of ACR to speed things up. Well, we can do the same thing without even bringing the images into ACR or Photoshop. If you have a group of photos with nearly identical lighting conditions and exposure, you can process one file and apply those settings to the other files from Bridge (I also mentioned this as an afterthought in the article).
To review: after you process your file, select the thumbnail inside of Bridge and copy the “Development Settings” via the right click menu, edit menu, or press Ctrl+Alt+C. Then select the images you want to apply the settings to and use the menus or press Ctrl+Alt+V to bring up the dialog that lets you choose which settings to paste over.
One of those settings is for “Spot Removal”. A neat trick you can do if you have a bunch of images with nasty spots on them, is to remove the spots on one image (via ACR’s healing tool) and do a copy & paste to the other images for only the spot removal. Now you don’t have to click every spot in every image.
BATCH WITH PHOTOSHOP
One thing I absolutely love about Bridge is the ability to batch process photos with Photoshop Actions… without manually opening those images in Photoshop and running the actions. If I process a photo with ACR and it doesn’t need to be opened in Photoshop, I don’t open it in Photoshop. But if I want to post that photo to Flickr at a smaller size, correct color space, etc., I have to use Photoshop.
But since I created a few actions for resizing my Flickr photos, I can carry out that task as a batch process. Just select one or more photos that you want to batch, go to your “Tools” menu, navigate down to the “Photoshop” menu, and select “Batch…” to bring up a dialog box. In fact, it’s the same dialog box that you can access from Photoshop itself.
The “Batch” dialog gives you options for the photo source, destination, and errors. Explaining every option in this dialog would constitute an article of its own, so I won’t mention everything about it. When I’m working with Bridge, my source will be set to “Bridge” — this just uses your previous selections for the batch. I also suppress open file dialogs and color profile warnings to ensure that the batch can run uninterrupted. These things can be dealt with in your Photoshop preferences. For my destination, I leave it as “none” when I’m just resizing for Flickr since my action saves the downsized file.
Do you ever end up with hundreds of photos from a single shoot that end up in a single folder? Are any of those photos basically the same as some others? If you don’t want to get rid of those similar photos, you can at least condense your archive visually. Stacks are kind of like miniature folders, but without the folders.
To create a stack, select the similar images and press Ctrl+G to “Group as Stack” or use your “Stack” menu or right click menu. This brings all the selected photos together and frees up some space on your screen. The stack can be expanded, condensed again, or ungrouped (check the Stack menu for the shortcuts).
I don’t typically use them unless I have a lot of photos in a single folder. They’re handy if you like to go crazy with the rapid fire, because a lot of bulk comes from all those slightly different photos.
That’s pretty much all I’ve got in me at this point. The last article in this series will be a recap, or course outline, for everything we’ve covered. I’ve only been using Bridge for a few months now, so I’m sure there are other features, methods, and tricks that I haven’t touched on. There’s always a possibility for a follow-up article sometime down the road.
If you guys are interested, I could possibly start another series on Adobe Camera RAW. I’ve been using it heavily for a little while now, and I’m getting to the point where I’m comfortable with the basic stuff for working with color and black & white photos. It’s really not that scary! And it uses the same RAW processing tools at Lightroom.
In the last part of this series, we went over File Processing with Adobe Bridge. So now that the images have been skimmed and processed on a very basic level, it’s now time to start picking out the good ones and organizing.
Before I spend any more time keywording or adding titles and descriptions, I thin out the herd so I’m not wasting time on photos that will never be used for anything. To do this, Adobe Bridge offers several tools such as stars and labels. Bridge also offers tools for finding images, so we’ll cover searching and creating collections.
Adobe Bridge offers the ability to star your photos based on a five point scale. This gives you six levels of separation to use however you like. I personally don’t use the stars because my own organizing scheme works fine without them, but you may find a use for them. Once you add stars to a photo you’ll have the option of filtering your files by this rating system.
I say that I don’t use the stars, but I actually utilize them as a temporary means of choosing files. If I have several photos of a very similar scene, I typically want to choose just one of them. So I add stars to photos in the group based on technical and artistic merits. This helps me narrow down my selection to just a few photos that can be compared side by side. After I choose the winner, all the stars are removed.
Labels are similar to stars, but they’re not so centered around a ranking scale. I use labels heavily because they can be filtered easily and the colors associated with them make it very convenient to spot labeled photos and folders. In addition, the label system can be customized to match your needs. Labels can be applied via the right-click menu or by pressing “Ctrl+(6-9)” while one or more items are selected.
The default labels offered in CS3 are No Label, Select, Second, Approved, Review, and To Do. These may be fine for your particular workflow, but I’ve customized the text of my labels to make them more recognizable. This can be done through the “Edit >> Preferences… >> Labels” dialog. I use To Do (need to be processed), In Process (started but not finished), Complete (finished processing), Revisit (reprocess later), and For Sale (anything on the market).
I only apply labels to the photos I’m going to process on a deeper level, so very few of them actually get a label. I also label my folders with red, yellow, or green based on what I have going on inside. Red folders have not been processed at all. Yellow folders have some photos started. Green folders are complete and need no attention at the moment. And Blue folders were complete but need more attention now. So while looking at my folders, it’s easy to see what needs working on and what doesn’t. Once inside of the folder, it’s a simple matter of selecting the “To Do” or “In Process” filter to see what needs work. The filter is also handy for bringing up the completed photos in case I’m looking for new material to sell.
Filters are fine if you’re working in a single folder of photos, but sometimes you need to expand your reach to a set of folders encompassing multiple photo shoots, months, or years. Finding what you’re looking for is no problem if you’ve done your job with adding keywords, labels, and other metadata.
Most of us are familiar with search and find functions commonly found in software. Bridge is no exception, but the tool is much more powerful than most. Before you start your search, be sure to navigate to the location you want to search under (this will make your job easier). To open the “Find Dialog” just press Ctrl+F or find the item under the “Edit” menu. Here’s what we see:
The Source option will be pre-filled with your current location, but you can also choose other common locations or browse for a specific directory. Criteria can be added or removed to suit your needs, and there are a vast number of metadata options that can be used for the search. In my example, I’m searching for a “beach” photo that I need “To Do”. There are several other options for the Results that dictate how the search behaves. When you’re ready to search, hit the “Find” button.
If you find yourself conducting the same search over and over again, a collection is what you need. Collections are like saved searches, but can be carried out from any location with the same criteria. The results are similar to albums in other organization software, but it’s not quite a drag-n-drop operation.
For example, I’d like to be able to find all of my “To Do” photos without having to look in each folder and filter things down. By creating a collection with the criteria for the label “To Do”, I can run the collection for a set of photo shoots, an entire year, or the whole archive. You can also create collections to search for specific keywords or other items in the metadata.
To start a collection, follow the instructions for a regular search. But instead of hitting “Find” we’re going to hit “Save As Collection”, which will bring up a save file dialog box. Choose a location for your collection, give it a name, and save it — I store mine in a top level directory called “Collections” within my photo archive. Also in that save dialog, you’ll see a couple of other options down near the bottom. I typically select the “Start Search From Current Folder” option so I can execute the collection from any location.
To run a collection search from any directory, you’ll need to also add that collection to your “Favorites” so you can access it while browsing your folders. When you get to the level that you want to search from, just run the collection by double clicking it and the search will begin from your current location. Some collections I’ve put together include one for each of my labels and one for seeking images that I’ve posted on various websites (I keyword them with things like “Flickr” and “ImageKind” after I’ve posted them online).
Features such as searches and collections only work well when you’ve put the effort into your photos up-front. Keywording, labeling, starring, and adding other metadata is a key process that has substantial benefits down the road.
I’m sure we could drag this thing out for many more weeks, but I think we’ve covered a majority of the key points with the software. In the next part of the series, I’ll talk about various tips, tools, and techniques for using Adobe Bridge efficiently and effectively.