Step 1

Open up your original photo file that you wish to apply the zoom to and create two duplicate layers of your Background layer. You do this by dragging your Background layer to the Create A New Layer icon at the bottom of the Layers palette or simply press Command-J (PC: Control-J) twice. Then, hide the top layer (Layer 1 copy) by clicking on the Eye icon next to it. Then, you want to rename the middle Layer (Layer 1) to Zoom.

Step 2

To create the zoom blur effect, select the middle layer (Zoom). Then go to the Filter menu, under Blur, and apply the Radial Blur filter to this layer (FILTER > BLUR > RADIAL BLUR). In the dialogue box, click the “zoom” radio button. You’ll want the zoom effect to be fairly intense, so experiment with the slider until you’re pleased with the result in the preview box.

Step 3

Next turn on the top Layer (Layer 1 copy), then add a Layer Mask and fill it with black. You do this by clicking on the Layer Mask icon while holding the Option Key (PC: Alt key). Holding the Option/Alt key will automatically fill the Layer Mask with black.

Step 4

Now you’re ready to bring in your background. Select a Soft Brush from the Tools Palette, and choose a brush size that you feel will give you the best control at revealing the background image. Change the output channel to white by pressing X on your keyboard and begin painting out the background image… where you want the sharp, clean image to appear. To add back in any of the “blur”, change the Output channel back to Black by pressing X again, and continue painting (carefully, please!).

Before & After Zoom Blurring

Conclusion

The zoom blur technique in Photoshop is fairly easy to apply, and much easier than mastering the technique with the camera. However, you’ll want to experiment with the settings in order to get the effect just right – too much and it’s way over done, too little and you don’t achieve the dynamic look that you want. Once you have become proficient with the process you can increase the dynamic range of your photos, and create eye-catching sports photographs with a few clicks of the mouse.

Composition Tips

Learn how to choose the right aperture to ensure your flowers are in focus and tack sharp and how to set up your shot to create pleasing compositions.

Learn by Example

Learn by example with 12 example photos. Each example includes the camera settings that were used, as well as a complete story of how the image was made and post-processed in Photoshop.

Image Editing Techniques

How to post-process your photos with Adobe Photoshop to reduce noise, increase contrast and saturation, make small adjustments to exposure, and make your images super sharp.

Here’s a sneak peak of what you’ll learn in this 65-page eBook:

What equipment you need for photographing wildflowers.

How to set up your shot to create pleasing compositions.

How to maximize sharpness by carefully positioning your camera (NEW for this Edition).

How to get more depth of field by using focus stacking (NEW for this Edition).

How to create powerful compositions by using color theory (NEW for this Edition).

What Kind of Format is this eBook in?

Wildflower Photography is a downloadable PDF file, which can be viewed on a number of devices – laptop and desktop computers, iPhone or Android devices, iPads, and other tablets.

For iPad specific users, you can download this ebook (or any pdf document) directly to iBooks, which will allow you to access it at any time. Click here for a very handy guide that shows you exactly how to put this book into your iBooks app.

This eBook can be found here: Wildflower Photography

Step 1

Open the photo and zoom in so both eyes are visible on your screen.

Working on the Background Layer, change the Foreground Color to the whitest white by clicking the cursor on the upper left corner of the Color Picker screen.

Select the Brush Tool B, adjusting the Size of the Brush [ or ] (left bracket key decreases the brush size; the right bracket key increases the brush size) to a little smaller than the size of the whites of the eyes where they form a triangle at the corners.

The Hardness of the Brush is 0% and the Opacity is 20%.

Step 2

Using the Brush Tool, click and drag the cursor over the white parts of each eye once. It’s okay to go outside of the line of the eye and over the iris somewhat.

If you feel the eye whites are still not bright enough, you can either change the Opacity to a higher percentage and start over, or click and drag the cursor over each area one more time using the same settings on the Brush (which is what we did in this example – the total Opacity was 40% because we went over each area twice at 20%).

Step 3

Select the History Brush Tool Y, making the Brush Size smaller, generally about one-third smaller than the white triangles of the eyes.

The Hardness of the History Brush Tool is anywhere between 0-15%. The Opacity is set to about 30%.

Click, click, click around the outer edges of the areas you just whitened, which would be along the eyelash/eyelid line, as well as the iris in the center of the eye. You will click numerous times until you get enough of the shadow back around where the eye whites meet the upper eyelids where there are natural shadows.

Step 4

Zoom out so you can see more of the face, and while looking at the image, click at the top of the History Window (so you can see the image as it looked when you first opened it), then click again at the last bar in the History Window, going back and forth a few times (so you can see the “Before” and “After”).

REMEMBER: do not do any other action that will change the History Window until the last bar of the History Window is highlighted again, otherwise, you will erase everything you have done that was on the History Panel!

Do the eyes look better and are they still natural? If they look good but you still see some distractions like blood vessels, uneven coloration or reflections of light (which happens usually at the inside corners of the eyes and sometimes on the bottom eyelids), go to Step 5.

Step 5

To remove any other distractions, select the Clone Tool S. Adjust the Size to be smaller or larger, depending on where on the eye you are working. Change the Opacity to about 30% and set the Hardness to between 0-20%.

Use the Clone Tool as needed to clean up the distractions, keeping in mind not to completely remove the shadows created by the eyelids. This little shadow keeps the eyes looking natural. If necessary, you can add a bit more shadow by using the Burn Tool O, with the Exposure at about 15% and Hardness at 0%.

Again, use the History Panel to check the “Before” and “After” appearance, like you did in Step 4.

Step 6

Having contrast between the eye color and the whites of the eyes helps the eyes to pop out of the photo!

To create more contrast and definition, use the Burn Tool (Exposure at 20-40% and a rather small brush Size – maybe 3) to outline the iris and if needed the lash line. In this example, we only outlined the iris.

Before & After Whitening Eyes

Conclusion

If at any point you feel you’ve made a mistake, take a few steps back on the History Panel or use the History Tool and start over on that section. Play with the settings a little bit, since every image is different.

In order to keep the look natural, think of “eye brightening” instead of “eye whitening”, otherwise you may have a tendency to over-whiten the eyes.

Step 1

Open up the image you want to work on, press Command-1 (PC: Control-1) or double-click the Zoom Tool to bring the image to 100%. Select the upper left corner of the Color Picker (the whitest white). Then select the Brush Tool B and adjust the Hardness to anywhere between 0-20%, and make the Size just a little smaller than the width of the tooth you are working on (we made the Size larger on the front teeth and smaller on the back teeth). Adjust the Opacity to 18%.

Step 2

With the Brush Tool, quickly go over the surface of each tooth, one at a time. In this example, the lower teeth are clearly visible and well lit, so we will also go over each of the lower teeth. (In most cases the lower teeth are in the shadow of the upper teeth and it looks unnatural to make the lower teeth as white as the upper teeth.)

Step 3

If you decide the teeth should be whiter (and we do in this case), go over each tooth a second time. (If you prefer, you can start over and start with a higher Opacity. We prefer to whiten in stages in order to control how much white is applied). If you make a mistake by going outside line of the teeth, use the History Brush Tool Y to clean it up.

Step 4

Select the Clone Stamp Tool S at 30% Opacity and clean up any discolorations on the teeth and gums and any bright, distracting light reflections. It’s personal preference whether or not to have light reflections on the teeth and gums. In the first example, we eliminated all reflections. In the second example, we brought back some of reflections using the History Brush Tool at 30% Opacity and 0% Hardness.

Step 5

Zoom out to see more of the face, and while looking at the image, click at the top of the History Window (in order to see the image as it looked when you first opened it), then click again on the last bar in the History Window, going back and forth a few times (so you can see the “Before” and “After”). (REMEMBER: do not perform any other action until you click on the last bar of the History Window and its highlighted again, otherwise, you will erase everything that was showing on the History Panel!) Do the teeth look better and are they still natural (if natural is your goal)? If you decide they look over-done, use the History Brush Tool at about 30% Opacity to bring back some of the original image.

Before & After Whitening Teeth

Conclusion

A beautiful smile can liven up a photo. The amount of whitening you add is up to you, and depends on your subjects. A model’s teeth will most likely need perfection, but family portrait smiles will probably only need brightening and removal of distractions. Say cheese!

Once Upon a Time…

Capture emotions and tell the story to make magical moments last a lifetime.

Ultimately as a photographer, you need to be observant and present but also inconspicuous. Couples shouldn’t be asked to repeat poses, so be ready to capture small moments showing affection.

This wedding photography image shows a groom kissing his bride’s hand; the large aperture (shallow Depth of Field) of f/5.6 keeps the emphasis on the groom and the hand, but still shows off the bride’s bright smile. For multiple wedding shots use continuous shooting mode and hold down the shutter button as long as you’d like.

Grab the Opportunity

There will be hundreds of special moments on the wedding day that you as the photographer must notice and capture.

Certain events, such as the vows and walking down the aisle cannot be repeated, so give yourself a good position in the venue to begin with, but also keep out of the way.

A nice effect is to use the slow sync flash mode, so you capture the blur of the couple walking, but the center of the frame stays sharp because the flash freezes it. Turn the mode dial to TV or S (Shutter Priority) mode and use a slow shutter speed of 1/4th of a second. Use either the on-camera flash or a separate one for more power. When you use slow sync, the shutter remains open much longer to allow in more light for your exposure.

Take Unusual Wedding Photos

There will always be time for the formal posed wedding photos with all the friends and family members.

The fun, casual moments are sporadic and less predictable. Look out for tender moments where the couple shares a story or a joke. You might capture outright affection or a glancing look they share.

Use flash to freeze the moment and a small aperture of f/14 upwards to keep things sharp. Remember to keep the shutter speed at 1/250th of a second and higher as you don’t want to risk any blur.

You can also consider using a warming filter, known as the 81A. This has a slight peach tone, but makes the skin glow and look alive.

Capture them Leaving

The classic wedding photograph is the couple leaving the marriage venue when the guests throw rice or confetti at the couple. Generally, this will be in the daytime with plenty of light, so choose a large aperture (f/2.8-f/5.6) to keep the couple in focus and the background slightly blurred. Use a shutter speed of 1/125th of a second so you can see some of the confetti in the air. Use flash if you want to guarantee that the image will be sharp.

Consider using the continuous shooting mode, so you have a series of shots of the couple leaving while confetti is thrown at them.

Tell the Fairy Tail

When it comes to the formal wedding shots, although most people will want the standard family line up images, remember to be creative.

Take your bride and groom away from the commotion and place them indoors by a big window or where there is a sliver of light. The idea is to catch their silhouette, so you need the light source to be behind them. Get the couple to kiss, making sure you include the back of the bride’s dress and veil for the outline. Remember to turn off the flash and use either spot or multi-zone metering mode. Take a reading of just the bright area and then point your camera at them and shoot! Ideally, you should use a tripod for this shot, although handholding at 1/160s should keep things reasonably sharp.

Capture the Fun

Photograph some of the older folks out on the dance floor, or the bridesmaid catching the bouquet thrown by the bride.

A wedding is a once-in-a-lifetime event for the couple, and your chance to show off your prowess at photography, so make the best use of this opportunity.

The happy couple will thank you for it in the years to come.

Recommended Settings

It should go without saying, but it’s important to make sure your images are sharp and focused when taking wedding photographs. These images cannot be repeated. Although you can use a tripod for the formal shots, you will need to handhold a lot of indoor, candid photographs so use a flash, wide aperture, and high shutter speed if necessary. Use flash if the conditions indoors seem a bit dark, and use it outside on sunny days to light the subjects’ faces.

Keep the ISO as low as you can, around 100, because wedding photographs are usually later enlarged and a lower ISO gives a finer grain.

Recommended Equipment

When photographing a wedding, always take a spare camera body. Murphy’s Law states that if it can go wrong, it will, so bring a spare camera body in case of any problems. Better yet is having two camera bodies with a different lens on each. For example, a telephoto zoom on one, and a wide-angle lens on the other allow you to quickly switch between the two.

Always take extra batteries and use a tripod for formal shots. Separate flash units are more powerful than built-in flashes, so have some of these.

You might take some large gold and silver reflectors to add warmth and light to the subject’s faces.

Conclusion

A wedding is supposed to be a once-in-a-lifetime event for the couple, and as a photographer, there is a lot of pressure on your shoulders.

You need to be present at all times yet keep out of the way. You need to be creative but formal at the same time. Many photographers will photograph a wedding as an assistant at first before taking on the task on their own since it is a big responsibility. If you are a lead photographer, take some assistants with you so that everything is covered.

Remember that these photographs will be cherished for life, so you absolutely must do the best job that you can.

Practice in a Pool

Before attempting underwater photography in the ocean, where the water is unpredictable, try taking images in a pool. You will need a specialty underwater housing. Most of the popular point-and-shoot and DSLR cameras have available plastic cases which seal in the camera and the lens. These are watertight, and are essential to protect your equipment. Keep a polarizer filter attached as this reduces flare and unwanted reflections from the water.

Catch the Action

Practice holding yourself underwater for longer periods of time and holding the camera steady. Use a low ISO setting to get a fine grained image and a shutter speed of 1/250th of a second or more. You can use on-camera flash when shooting in a pool to freeze the action. Wear goggles if you can’t keep your eyes open underwater and try to capture a fun portrait with the person swimming or floating in the water.

Split Underwater Photos

The major technical challenge faced by photographers while taking a split over the water and underwater photo is that the exposure value of the image above the surface is often different from the one under it. This occurs due to refraction under the water, which affects the overall focus of the above water segment. However, this can be overcome by using specialized “split diopter filters” designed to compensate for this problem.

Keep it Steady

To keep a camera steady underwater is a challenge for anyone, because water is always moving. It helps to practice snorkeling, and be comfortable with the water before attempting to take images underwater. You need to be able to stay still in the water even when fish or other creatures come to investigate you. Don’t be afraid to use a friend or a rock to stabilize your body so you can hold the camera still, though holding the camera with one hand is not recommended.

Lighting

When taking photos underwater you will need to use a specialist underwater flashgun called a strobe. These will be sold at the same place you buy your housing; a conventional flash will not have the power to travel through murky sea/ocean water so you need a strobe. Set your ISO as low as possible as the low light conditions will give grainy images; choose ISO 50 or 25 if this is an option on your camera.

Zoom in for Details

Macro photography when underwater can be used to obtain some stunning images. Use a macro lens (usually 50mm – 200mm) to be able to focus on subjects that are inches or centimeters away. It’s worth photographing the underwater images in RAW format, because it is best for images that you want to use color correction software later. Images in RAW format will still retain good quality after going through the color correction process.

Avoiding Loss of Color

One of the biggest hurdles in underwater photography is the loss of color and contrast. While submerged in the water, things appear to be blue or green in color. This is because the colors with longer wavelengths are absorbed by the surrounding water. The loss of color happens both horizontally and vertically, making distant subjects appear colorless and vague. This problem can be resolved either by getting as close to the subject as possible while using a wide-angle lens for close focus, or using flash, which helps in restoring the lost color.

Recommended Settings

When shooting underwater, choose the lowest ISO possible, so you get a fine grained image. You will need a shutter speed of 1/125s – 1/500s to freeze the action – for example a school of fish. Use a small aperture (f/11-f/20) to get objects in the foreground and background sharp. Shoot in RAW mode when possible so that color correction is easier later on.

Recommended Equipment

You need suitable underwater housing made specifically for your camera (usually made by third party manufacturers; shop around for the best price and fit). You will need a strobe flash if photographing deeper into the sea and in murkier waters. The best lenses for underwater use are macro and wide-angle lenses. Telephoto lenses are useless because they won’t allow in enough light for a clear image.

Conclusion

Underwater photography is a great challenge and it can be expensive. However, if you want to pursue this as a hobby, you will need the correct equipment. Be patient and persistent. Don’t forget about composition rules and focal points just because you are underwater! Practice changing the settings on your camera underwater too. You can practice when you are snorkeling or diving in the pool. Finally, don’t be afraid to take your time. The unique shots will be worth it in the end!

Through-the-Lens Metering Mode

TTL Flash Metering is the standard metering mode that your camera employs where you’re using the camera’s built-in or pop-up flash.

You can also use this metering mode with some of the dedicated flash units available for your camera. TTL flash metering measures the burst of flash output light reflecting back from the subject and takes its reading through the lens. It will take this reading from the section in your view where the active focusing point is set. TTL manipulates the flash exposure with a dedicated sensor that measures the flash output reflected from the surface of the image sensor during active exposure.

The one thing TTL does not employ is a pre-flash for the flash exposure calculation. Note: when you have your camera set in Program, TTL will choose an aperture setting based on the amount of available ambient light.

Advanced TTL Metering Mode

The automatic-TTL does all the same functions as the TTL metering mode in that it reads through the lens and concentrates its sensitivity on the section of your frame covered by the active focusing point.

What A-TTL does that TTL doesn’t do is that A-TTL uses a pre-flash to calculate the appropriate f-stop based on the distance the flash output light must travel from the flash to the subject. This burst of light engages when the shutter release is halfway depressed, and the flash unit then sends the actual scene-illuminating flash output when the shutter is fully opened.

In addition, when you have set the camera to Program mode and are using A-TTL, the camera quickly compares and contrasts the distance-based aperture information with ambient light-based aperture information (measured by the camera’s standard metering system) and chooses the larger f-stop (to ensure more accurate exposure, and increase sharpness and depth of field).

Evaluative TTL Metering Mode

Evaluative-TTL uses a different technology than TTL and A-TTL in that it uses the pre-flash to determine the optimal flash exposure (by measuring the scene’s reflective quality) to provide a mid-toned subject.

The E-TTL pre-flash differs from A-TTL in that the E-TTL pre-flash happens immediately before the shutter opens (not when the shutter is halfway pressed with A-TTL). So the exposure value is calculated a split second before the main flash fires, not during the metering of the ambient light.

In addition, the pre-flash is analyzed by the camera’s main TTL sensor, not the external sensor on the flash unit. This allows the E-TTL to be more accurate. It’s remarkably difficult to notice the preflash when using E-TTL, because it fires so quickly… so even if you look for it, you might have trouble seeing it.

Conclusion

The TTL Metering System has been a great boon to photographers, though perhaps less so now in the digital photography age, because moments after taking the picture you can see exactly what the image looks like.

If the image is overexposed (or underexposed), make the necessary adjustments and shoot again. TTL metering enables you to be as precise as possible with your photographs and have exacting control over exposure settings.

Full understanding of how the various TTL metering modes work will enable you to get more creative with your photography because you’ll have a better command of that all-important element of photography… how you record the light.