The following in a guest post by Villian, from Villian Conception. You can also follow Villian on Twitter and Facebook – thanks for your guest article, Villian!

Visualizing in Photoshop is a skill that very few learn, it is something that pros do daily.  You must see before you can reveal to your audience.  Visualization in Photoshop is the process of planning your shot with overlay drawings and grids to get the most out of your project.  It is a pivotal step in making your project pop and in giving it a real jolt from your imagination into reality.

I wanted to introduce visualization to those who are not familiar with it’s process so, I will take you step by step so that you can understand what the purpose is and how to use it.  There are many ways to visualize in Photoshop but I will show you my method it is neither wrong or right it is just one way.  I will hope to find your own way as your journey into the visualization process.

Plan Your Shot

Before anything goes onto paper you must plan your idea even in it’s vague form a general idea is extremely important because this will reveal how you will actually shoot the piece.  For this shot I knew far in advance that I wanted him to be a warrior – somewhat like the Aztec warriors aggressive but really valiant in their traits.

The Outline

When starting to visualize it always starts in your head, the first step is getting it down on paper.  I generally jot down things that hit my mind like so.  Using action words and presence words that really give me a good image are the best way to go.

1. warrior
2. rough
3. tribal
4. conquering
5. defiant
6. honour

Writing down the outline is usually the most important part of visualization.   Ironically it’s words that will help you see your image more clearly.  I commonly go back and look at them to see if my picture symbolizes the words that I originally wrote down.  I have never been disappointed in my work that matches it’s original intent, without the outline my thoughts sometimes slip away from it’s true purpose.

The Skeleton

After writing down my outline for the picture, I do what I call a skeleton.  The skeleton is the basic building blocks of the actual visual things I plan on being in the picture.   In the Skeleton I plan out things such as light source, atmosphere, colours, particles, and digital makeup.  The skeleton literally is my road map to my final destination.  The purpose of the skeleton is not to confine but to refine your detail in a thought out way.   I find myself going outside of it from time to time, but usually not much.  Look below at the skeleton.

How to make a Skeleton in Photoshop-
-Make a new layer on top of your photo
-Always save a second copy of your psd.
-On the new layer use your favourite paint brush or pencil
-You can write with a tablet or use type words like me
-Using colours to represent your skeleton features is a good idea
-Repeat and Rinse add layers as necessary.

After you have your road map developed you can begin to actually build layers onto your photo and actually put in the puzzle pieces that will make your image complete.  Just remember to always visualize, it will make you more observant of the possibilities.  Keep in mind you may find your own method of visualization – there are plenty and don’t let anyone tell you, you can’t, you can and you will.  Good Day.

Villian

Thanks again to Villian, from Villian Conception, for this article. You can also follow Villian on Twitter and Facebook.

By the way, I did this post because someone actually contacted me and asked for it (thanks, Joseph!), so feel free to do the same if you have a topic you’d like me to cover on here (or ask on our Facebook page, if you’d prefer).

So, here’s a before and after image so you can see how making the eyes pop enhances the image. This is actually a photo of a friend of mine, from his 30th birthday party this year:

Before and After

So, to do this, simply open up your photo in Photoshop, and select the ‘Dodge’ tool. This is on the left handside, and looks just like a black version of the ‘zoom’ tool.

What ‘dodging’ does is to lighten the areas of the photo that you choose to apply it to. As we want to make our subject’s eyes pop, we can use this tool to brighten them up… simple!

So, you have the Dodge tool selected, but before you start applying it, look at the top left of your Photoshop screen to where it says ‘Exposure’, and move this exposure slider down so that it’s at around 10%. What this does is lessen the effect of each application of the dodge tool – if you had the exposure at 100% it would have a MASSIVE effect, which could look really overdone, so by having it at around 10% you can subtley keep adding to the effect until you get your desired ‘pop’ factor.

So, dodge is selected, expousre at around 10%; you’re good to go. Zoom in on your subject’s eyes, and start ‘painting’ (although you’re not actually painting, you’re simply brightening the eyes). Here’s a screenshot of my workflow window so you can see what I’m talking about.

This is the shot before I’ve started to dodge the eyes, just so you can see what settings I’ve selected.

You can keep ‘painting’ the eyes until you’ve ‘popped’ them enough (careful of overdoing it!), and then you’re done – ‘popped’ eyes in under 10 seconds. As I mentioned earlier, there are lots of different techniques on how to do this, but this is what I find to be the quickest and simplest.

Here’s a larger before and after comparison:

Before

After

Enjoy making the eyes of your subjects stand out!

The Photographer’s Ephemeris is a totally free desktop application (PC & MAC) that can help you plan an outdoor photoshoot to perfection. Well, I say perfection, but that may be a little bit of an exaggeration, as lots of things can happen on a shoot that are outside of this little programme’s control! But, that little point aside, The Photographer’s Ephemeris really can help you out because it will show you the angle of light for anywhere in the world, at any given time.

Say, for instance, that you intend on taking a few shots of sunrise at your local beach. What would be the best time to take the shot? From which angle will the sun be rising from? This free piece of software will show you in a few second – simply enter the address of your photoshoot location, and you’ll instantly see sunrise/sunset times, as well as angles of light for that specific location. Just see the example screenshot at the top of this post as an example.

This handy video shows you how to use the software in more depth:

You can download The Photographer’s Ephemeris for free here (download link is at the top-right), or you can get a mobile version on your iPhone/iPad on iTunes (though you have to pay for the mobile version).

The DVD I’m reviewing is called ‘Digital Photography Exposed’, and is available online here.

Here’s a small trailer for the DVD:

My Review

So, first off, I’d say that this DVD is aimed at the beginner-to-enthusiast photographer, and will definitely be great for you if you’ve just had a DSLR for a few months, but haven’t really been able to get to grips with just how to get the best out of it. One of the great things about the DVD is that your host and photographer for the film – a guy called Mike Browne – only uses and recommends equipment that beginners generally have; cameras such as the Canon 550D / T2i, or the Nikon D90. So all the advice and technique he shows you, including close-ups of buttons/LCDs etc, is going to be useful for you, the learning photographer.

My overriding feeling from watching this DVD (which runs at a good length of nearly an hour and a quarter) is one of ‘wow, I really want to get out and try that’. I had my camera with me as I watched the film, but I found it so inspiring – and, in particular Mike’s down-to-earth advice and enthusiasm – that I wanted to get outside and try out all the different things he’d showed me.

If you’ve ever felt confused from photography books, manuals or magazines, but haven’t wanted to take the plunge with physical photography lessons, this DVD is for you – it’s like having a personal, one-on-one photography teacher showing you just how to take great photographs.

I made lots of notes as I watched the DVD, so I’ll share and elaborate on some of the things Mike teaches us below:

• Composition and lighting; this is where the magic is. I really like this notion, as Mike makes it clear that equipment is only one part of photography, and rather it is the use of light – and knowing just how to make the most of any lighting situation – that really makes a great photographer.
• Without any equipment, however, we wouldn’t get any photos at all! So there’s a nice section on lenses, and a great description of focal length and zooms. Good tripod advice too.
• Exposure – great demonstration of shutter speed. Being able to physically see what happens when the shutter opens and closes is great; really helps you visualise what is happening in the camera. Mike gives a good explanation of what shutter speed looks like on your camera screen, too i.e. the difference between 4 (quarter of sec) and 4″ (4 seconds).
• A physical demonstration of aperture – so Mike actually shows us just what happens to the lens as we increase/decrease the aperture size. Just seeing this kind of thing realy helps you realise what’s going on inside your camera/lens, and makes aperture so much easier to get your head around.
• Explains lightmeter view on back of camera, changing shutter speed and aperture to ‘zero’ the lightmeter, and thus get a properly exposed shot. Sounds a little technical, but Mike shows you how easy it is.
• Depth of field, using aperture to blur the background, separating your subject from the rest of the scene nicely.
• Freezing motion or creating blur by controlling shutter speed.
  
  

  That's Mike above - he's a cheery chap, and a great host!

• ISO. Great advice: if you can either take the photo by raising the iso, or you would miss the shot, take the photo!
• Focal length. Demonstration with a model, using different focal lengths to take the same composition, but learning what the change of focal length does to the resulting image. Learning to move yourself, rather than zooming: know what focal length you want, and just moving yourself to get the shot, rather than zooming all the time. Great to see three different images and being spoken to about the differences. Changing depth of field, field of view, and perspective (how close spaces seem to be).
• How to get sharp photos. Where to focus by choosing focus point (auto focus doesn’t always focus on the things you want it to!). How to stop camera shake.
• Semi auto modes. Aperture priority and Shutter priority.
• Composition. Rule of thirds; don’t put your subject bang in the middle. Really great demo of putting the subject into rule of thirds. Creating depth/3D effect by utilising the notion of a foreground subject. A nice section on creating a ‘Frame within a frame’.
• Good advice about thinking/constructing images, rather than just ‘clickety clicking’.
• Light. This is a really great section on the quality of light, with physical demonstrations of different light types, and how they are suitable for different situations/people. For example, harsh, directional light is generally not good for people, but good for powerful subjects. Nice soft shade is diffused light for nice portraits.

As the review has probably shown you, I really like this DVD. I thoroughly recommend it to beginner DSLR-owners, and also think even an enthusiast photographer who’s had their DSLR for a year or so would still benefit hugely from giving it a watch. There really is a lot to be said for actually being shown how to work your camera effectively, and just how to use each mode, compose and shoot, to get the photo you want.

‘Digital Photography Exposed’ is available to order online via this link.

Marianne Taylor

This week I’ve been lucky enough to interview the fantastic London wedding photographer, Marianne Taylor. Marianne specialises in creative, reportage wedding photography, and her shots instantly drew me in when I came across her website.

I really love Marianne’s work, and also admire the way she handles such a busy schedule, but at the same time gives out little bits of help and advice to anyone who wants to ask her a question (see the question about ‘Ask Me Anything’ below for more info).

Anyway, over to Marianne (after one of her fantastic shots):

Hi Marianne, and thanks a lot for doing this little interview! So, my first question: I originally found you via Twitter (@mnoo), where you have a large following and are a prolific twitterer. Do many of your brides find you in this way, do you know?

Twitter for me is first and foremost about being part of a wider photographic & wedding vendor community. Funnily enough being a wedding photographer is a pretty lonely occupation, with long days – and nights – tied to the computer editing pictures and doing admin. It’s invaluable to have a community to talk to and keep you sane. It’s the equivalent of  the water cooler in a traditional office environment.

I do have some clients I know that follow me on twitter, mostly these tend to be the kind of people who are themselves somewhat involved with either creative or online communities. I think majority of clients keep an eye on my work via facebook and my blog.

To actually answer your question though, I don’t think many clients (unless they are part of the scene) initially find me via twitter, no.

Your photography has been featured in magazines such as Cosmopolitan Bride and You & Your Wedding amongst others; can you remember what your very first magazine feature was, and how it came about?

My first magazine features were some interviews for photography magazines, before I started doing wedding photography. My first wedding feature was in Cosmopolitan Bride magazine. Kat from rocknrollbride had told the Editor about my work and then told me to get in touch. I did, a lovely lunch followed, and luckily Miranda thought my pictures would work well editorially. Ever since the first Cosmo Bride feature there has been regular interest from several magazines, and I also consider Miranda a friend these days. Everything I do tends to happen quite organically, I don’t really have a grand plan or force myself on anyone. I hope that my work will do the talking in most cases.

You were the first photographer I came across that used the fantastic ‘Ask Me Anything’ service (check out Marianne’s page at http://www.formspring.me/mariannetaylor), where you literally answer any questions your readers throw at you (including technical photography questions). I found your advice and honesty incredibly helpful. Do you ever think you’d run any wedding photography workshops in the future at all?

Thank you! I’m glad someone reads it. I enjoy helping others and wish I had more time to do it. If anyone can learn from my successes or mistakes, that’s brilliant. I get asked about mentoring quite often and it’s something that is definitely at the back of my mind and is something I am planning on mulling over more when the season slows down a bit. I definitely wouldn’t want to take anyone’s money without having a clear idea of the value I might be able to offer though.

If you could choose to photograph any wedding in the world, be it in the future, or a wedding from the past (yep, you can time travel for this question!), what would it be and why?

Oh, what a hard question! I don’t think I’d have a specific person who’s wedding I’d want to photograph… The best weddings for me are when the couple are giddy about each other, and when they have planned the wedding completely on their own terms. 

Can you give our readers any advice for when they’re asked to photograph a friend’s or a family member’s wedding?

I would say, recommend they hire a professional photographer. There are photographers for all price ranges out there, with proper equipment, insurances and back up plans and procedures. I have heard way too many horror stories of this sort of arrangement not working for one reason or another, and it’s tragic not to have pictures you love as memories from your day. I also think it’s unfair on whoever has been asked to do it, it’s pretty difficult being both a guest and a photographer at a wedding without splitting yourself in two. Also to add, when they do hire that professional, let them do their job and enjoy the day yourself!

Do you have a favourite lens that you like to shoot with?

I am quite partial to the 50mm and the 35mm.

For me, one of the things I’ve noticed and really like about your photography is the amount of fun you capture – the smiles and laughter. Can you give us any tips on how you capture those moments?

Patience. I have always been drawn to the authentic expressions and the only way to catch those is to be aware of situations and be ready when the moment comes. Some photographers find it difficult to slow down enough and hence might miss more of these.

How do you like to handle the ‘first dance’ photos?

Generally my assistant will hold an off camera flash for these.

Can you remember your very first wedding?

My first-first wedding was back in the 90’s, but that’s so prehistoric now that it’s probably not worth mentioning! For my first wedding as Marianne Taylor Photography, I was planning on going solo. I saw the venue a couple of days before and realised the reception would be held in a dark room without any windows or artificial light what so ever.  After the initial panic, I asked my friend to come assist with off camera flash (I’ve never been a fan of on-camera flash). I feel I was otherwise fairly well prepared, I had backup equipment and I had my insurances etc. The day was a whirlwind, but went well and I loved it. We also realised how much we enjoyed working together with Susanna, and she’s been my regular assistant ever since.

I think one thing to point out is that I had absolutely confidence in my technical and artistic abilities at that point (of course there’s always room for improvement, mind!). I don’t think someone’s special day is the time to practice photography, that’s something you have to do before hand.

If you could only follow 5 people on Twitter, who would they be and why – can be photography related or not, up to you!

Since for me twitter is primarily a hangout with my industry friends, it would be impossible to rank them like that! So here are some completely unrelated follows: @LightStalking @PhotoProUK @foundacam @Londonist @heyuguysblog

Lastly, what would be your top tip(s) for someone tyring to improve their photographic skills?

Shoot, shoot, and then shoot some more…

Thanks again to Marianne for giving us this interview! You can see more of her work at her main wedding photography website, on her Facebook page, or follow her on Twitter.

High Key means, basically, a photo that is predominantly bright/light – generally with hardly any shadows, and not very contrasty at all (although that’s subjective: a photo can still have quite a bit of contrast and still be classed as high key). Think of a white flower petal lying on a white sheet – that’s high key. But what’s a much better way of explaining just what High Key means? With some photo examples, of course!

'High Key' by GonchoA

'High key for #ds' by Rosmary

'#000000 & #FFFFFF' by Moogs

'Zebra - high key' by PedjaP

Have you experimented with taking any high key shots? Let us know in a comment below, or  – even better – why not ‘like’ our page on Facebook, and post one of you shots on our wall? We’d love to see your stuff!

Anyways, I was lucky enough to stumble upon this great video below, from a Seattle-based wedding photographer, Kirk Mastin (you can view his website here). It’s a fascinating, and truly inspirational short video, explaining – in my opinion – the beauty of shooting weddings. Check it out:

Well, with Adobe Lightroom, you can fix this little problem in a few seconds. Yep, it’s that quick, that simple, and that effective. And I’ll show you how to do it in this little Lightroom tutorial. Check out this before and after:

The window light behind my friend meant that her face came out all dark; not good. But by using Lightroom’s fantastic ‘Fill Light’ slider, which took all of a second, her face is now all light again – great! I also call this a ‘virtual flash’ technique, because it really is like you took the photo with flash. So, without further ado, here’s how to do it:

First off, I’ll show you a larger version of the ‘before’ photo:

Before using the 'Fill Light' slider

Too dark; not good. So, just open the photo in Lightroom, and choose the ‘Develop’ module (top-right).

Now, see those bunch of sliders across the right of the screen? We want to just use the one that says ‘Fill Light’. Drag that slider to the right, and, voila, your photo will start to look brighter. What’s so great about ‘Fill Light’ rather than, say, the ‘Exposure’ or ‘Brightness’ sliders, is that ‘Fill Light’ works mostly on the slightly darker midtones of your image – it doesn’t affect the brighter parts of your image much at all. If you just upped the ‘Exposure’ or ‘Brightness’ sliders, then ALL of your photo would get brighter, which means you’d run the risk of starting to ‘white-out’ the brighter parts of your image (or ‘blow the highlights’).

As we just want to brighten the part of the image that is – in this case – my friend’s face, we simple move the ‘Fill Light’ slider to the right, until we get our desired result. In this case I moved it across to 51. See the screenshot below:

A Fill Light setting of 51 was good in this example

This literally took a few seconds. Here’s the result:

After using 'Fill Light'. No more shadows, yay!

And a composite ‘Before’ and ‘After’ screenshot below (I love how Lightroom does these before and afters):

Using ‘Fill Light’ too much can introduce a bit of digital noise into your image, but this can be very effectively counteracted by using Lightroom’s fantastic ‘Noise Reduction’ sliders, which I’ll go into at a later date. If your image is just for small 6″ x 4″ prints, or web-use, then you really won’t notice noise too much anyway.

Adobe Lightroom is my photo editing software of choice by a long way – I hardly use Photoshop anymore, it’s that good. It’s available from Amazon US or UK if you fancy getting a copy.

They really are great little videos, especially for the beginner DSLR user – or even for people who’ve had their camera for a while now, but are yet to delve further than the automatic modes. You can check out Ethan’s Youtube channel at this link, or view 8 of his videos below:

This is where the idea of ‘fill flash’ comes in: just popping a small amount of flash on the subject so they are not lost in shadows. Here’s a really good video to show you just how to use fill-flash easily and effectively: