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    Here is where you can keep up with all the Latest News, Photo Shoots, Photography Tips & Techniques, Videos and general day to day ramblings in the world of Glyn Dewis; Photographer, husband, adopted father of two very pampered cats and a self confessed geek.

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Grunge Effect Part 2: Editing Walk Through

Following on from my ‘Grunge in 8 Simple Steps‘ video and post, I got the feeling from some of the feedback that a ‘walk though’ of the tutorial which would go hand in hand with the video would be useful; so, in this post I’ve done exactly that…a ‘walk through’ of each of the 8 steps to edit ‘The Bearded Guy’:

Step 1: Levels Adjustment
The ‘out of camera’ image was lacking in ‘blacks so a Levels Adjustment was made where the shadow slider was moved a short distance to the right so that it touched/lined up with the far left of the histogram.

BEFORE:

AFTER:

Step 2: Add contrast to eyes using a Levels Adjustment
To make the eyes have more impact and stand out, first of all I selected them by selecting a brush, a foreground colour of black and then pressing ‘Q’ to enter Quick Mask Mode. All I did then was paint inside the eye (which will be visible by the red overlay) and once all selected just pressed ‘Q’ again to come out of Quick Mask Mode. To saturate the colour and add more density to the eye all that was needed was a Levels Adjustment Layer and moving the Shadow, Midtone and Highlight sliders to taste.

3. Add contrast with a Curves Adjustment Layer
Contrast was then added to the image using a Curves Adjustment Layer and selecting one of the presets…’Medium Contrast’. Now, as I’ve mentioned before, adding contrast to an image does also have the effect of saturating the colours (as happened in this case). Normally this isn’t something I’d want to happen, so to remove the saturation but keep the contrast boost you can simply change the blend mode of the adjustment layer to Luminosity. However, knowing what I was doing next in Step 4, I kept the saturation as it was.

4. Reduced Greyscale Layer
To make a Greyscale (Black and White) Layer I used Nik Silver Efex Pro which nowadays is all I ever use, however you don’t need it to do this tutorial. Use any of your own preferred methods to convert the image to Greyscale so long as the result appears on it’s own layer. Once I’d created the greyscale layer all I did then was reduce the opacity so that the colour from the underlying layer started to show through just enough to give me the look I wanted, which in this case was around 75% (allowing 25% of the colour from beneath to show through).

BEFORE: Greyscale Layer

AFTER: Greyscale Layer opacity reduced to 75%

5. Restore eye colour with a Layer Mask
A side effect of adding the Greyscale layer is that the colour / tone in the eyes that we did in Step 2 is lost, so to recover it all that was needed was to create a Layer Mask and then paint in black using a brush over the eyes and the colour in the layer beneath shows through.

6. Add detail to hair using the High Pass Filter
I tend to use the High Pass Filter when I’m looking to bring out detail in such things as stubble or as in this case a ‘shaggy beard’. I’ll always apply it to a duplicated layer so that if need be I can reduce the strength of it later by reducing that layers opacity. So, all we do is go to FILTER (in the top menu bar) then OTHER…HIGH PASS. This brings up the dialogue box you can see in the image below and all you need to do is choose a RADIUS amount. The higher the radius, the more of the image you’ll see appearing through the grey overlay and consequently the more detail/sharpening will be applied.

Once you’ve chosen a Radius click OK and then you’ll need then to change the Blend Mode  to Softlight. At this stage this means the HIGH PASS Filter has been applied to the entire image but all I want is for it to be applied to the hair / beard. So, add a black Layer Mask (which hides the result of the High Pass FIlter) and then paint over the hair / beard with a white brush to bring the effect back. This way, only the hair / beard has the High Pass Filter applied to it and not the skin.

7. Darken down the background using Multiply Blend Mode and Burn Tool
Really simple this one. Just duplicate the layer you’re working on and change the blend mode to Multiply. This will have the effect of darkening the whole image so to restrict the darkening to the background etc, all I did was add a Layer Mask and then paint with a black brush over the face etc (but not the background); this will keep the darkening of the Multiply Blend Mode on the background but not on the face or wherever else you paint. In this instance to darken it even more I then dragged the Multiply Blend Mode layer onto the New Layer Icon at the bottom of the layers panel. This creates a duplicated layer and consequently duplicates (doubles) the darkening. To finish off the darkening I just used the Burn Tool set to Highlights and painted over some of the brighter areas in the background at around 20% strength.

8. Reduce Saturation
To finish off the image all I have done then is add a Hue/Saturation Adjustment Layer and moved the Saturation slider to the left slightly so as to reduce the overall colour of the image.

So there you have it…the 8 Steps I went through to edit ‘The Bearded Guy’.
So, was it useful? Explained clearly? … I’d love to ‘hear’ your thoughts good or bad and any questions or comments you may have so please feel free to make use of the comments section below.

In the meantime, have a great weekend.
Enjoy:)

Grunge in 8 Simple Steps (Photoshop Tutorial)

Following an earlier post where I mentioned about a recent ‘mini’ Photo Walk down on the coast at Brighton with my buddy Neal Hibbert, I’ve been asked a few times about the photograph of the ‘Bearded Guy’ that I took; in particular regarding what editing was done.

So, I thought I’d put together this short video which breaks down each of the 8 simple steps in Photoshop that I went through to achieve the final look; those 8 steps being:

  1. Levels Adjustment
  2. Adding Contrast to the subject’s eyes by using Quick Mask and a Levels Adjustment
  3. Adding overall contrast with a Curves Adjustment Layer
  4. Greyscale Conversion followed by reduced opacity to bring back some colour
  5. Restoring colour in the eyes (following the greyscale conversion)
  6. Adding detail to hair using the High Pass Filter
  7. Darkening the background using the Multiply Blend Mode and Burn Tool
  8. Reducing Saturation overall

To change things up a bit, and because each of the steps are very simple and brief, rather than do a ‘voice over’ I’ve split the video into sections so you can clearly see each of the 8 steps as I work through them.

As always, if you have any questions or would just like to leave a comment then please feel free to make use of the ‘comments’ section’ below; it’s always great to ‘hear’ what you have to say.

Enjoy:)

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“It’s not about the Photography, it’s about the people”

Saturday 24th July 2010 will surely go down in history; a day when 33,000+ photographers in cities around the World took part in Photo Walks. This World Wide Photo Walk was the brain child of best selling author, Photographer & President of the National Association of Photoshop Professionals (N.A.P.P.) Scott Kelby and is the 3rd of it’s kind.

For those of you who don’t know, the idea of the Photo Walk is to get groups of no more than 50 people together in cities across the world and go on a photo ‘hunting’ exercise for 2 hours; basically a huge social event for anybody interested in Photography from Professionals to folks who use their camera phones. Each of the cities around the world will have a designated leader; someone who has organised and advertised a walk and who’s unenviable task it is then to choose a winning photograph from the day; the winner then being eligible for prizes valued in their £££’s in the overall World Wide Competition.

However it’s so much more than a ‘competition’ as my good friend Scot Baston said…“It’s not about the photography, it’s about the people” and having lead 2 previous walks and experienced the unforeseen benefits, he’s so right.

This year I lead a Photo Walk in Windsor, UK and had a fantastic day with a great bunch of people, great weather and plenty of laughs along the way; and for those who wanted to stay a little longer I put together a ‘mini’ workshop to go through just a couple of lighting techniques too.

I just want to say a HUGE thank you to everyone that came along and took part making the day a success and a big shout out in particular to those of you that had travelled a considerable distance and number of hours to be there; I really do value your friendship and support guys!

So, here’s to the next World Wide Photo Walk…wherever that may be:)
Enjoy.

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No excuses for nothing to shoot!

Armed with just one camera and one lens, my good friend Neal Hibbert and I headed off down to Brighton for a day away from it all; a kind of mini Photo Walk to just ‘shoot’ with no client, no agenda, no plan and no time limitations.

I have to say that it did feel kind of strange heading off without any of my lighting equipment, in fact as we headed off I still hadn’t quite cut the cord between me and my California Sunbounce Mini Reflector but no, we said minimum kit and minimum kit it was:)

Now I knew we’d have a good day; Neal and I always do having been mates for a number of years and having the same (some would say warped) sense of humour but neither of us thought it would be quite as good as it was…particularly on a photography front.

Getting out with just one camera and one lens is something I don’t get to do all that often as most if not all the photo shoots I do involve some kind of lighting equipment and a variety of lens changes so this was a real nice change from the ‘norm’.

Being a big user of Twitter and Facebook I posted what I was up to during the day and got a few questions back asking such things as ‘What lens did I take?, ‘How do I approach complete strangers and ask to take their portrait?’ and so on, so with this Saturday being the 3rd Scott Kelby World Wide Photo Walk I thought I’d share some of my decisions and techniques with you…

1. What Lens did I take?
I decided to take my Nikon 85mm f/1.4 Prime Lens; one of my favourite lenses but then one that I haven’t been using all that much lately as I seem to have been favouring the 70-200mm probably more out of ‘habit’. Taking out just the one lens is a great way to learn what you can and can’t do with it…it’s limitations if you like.

2. Shooting Technique?
The idea behind the day was to keep things simple so I shot in Aperture Priority and Bracketed for 5 shots each and every time. This was something I’d never really done before but having seen Jay Maisel do this on a recent Kelby Training video it made perfect sense. Set the camera up to take a rapid succession of 5 shots, each of varying exposures and one will definitely be correctly exposed meaning I’m left to just shoot without getting hung up on tweaking settings; something that came in really handy when taking portraits of complete strangers during the day.

3. Shoot in both Portrait & Landscape (Vertical & Horizontal)

4. Photographing complete strangers
Just the thought of going up to a complete stranger and asking if you can take their portrait can be quite intimidating but it really doesn’t have to be. Expect to get some No’s; not everyone is going to want to have their photograph taken but that’s to be expected however there are things you can do to increase your chances of success:

  1. Photograph in areas where cameras are common place. Seaside towns, tourist areas etc are generally flooded with people carrying cameras taking photos here there and everywhere.
  2. Ask don’t assume. If you’re going to photograph someone be sure to ask their permission. We found that just approaching with a friendly face, explaining what you were doing and asking if they’d mind having their portrait taken worked just fine; in fact we had no refusals all day.
  3. Give out business cards to everyone you photograph.
  4. Be quick! If a stranger is good enough to allow you to photograph them, then be as quick as you can so as not to draw attention to them (especially if you’re shooting someone who lives on the streets). This is another good reason for bracketing as it avoids chimping in between each shot and tweaking the exposure to get it just right…you can just compose the shot and shoot…done! Minimum fuss and minimum inconvenience for your subject.
  5. If you do get a ‘No’ then just thank them any way and move on; that really is as bad as it gets.

In Summary
If you find yourself with nothing or nobody to shoot or maybe feeling frustrated about not getting out with your camera then a Photo Walk could be the answer. Get out with just the one camera and lens and just shoot; shoot anything and everything but delete nothing and the more we do this the better we get; practice after all, makes perfect!

Getting out every day (or as much as is possible) with your camera is vital if we are to progress and develop our craft as photographers. In the Kelby Training video with Jay Maisel and Scott Kelby, Jay compared photography to Bodybuilding; sounds strange I know but think about it…

To develop their physique, does a Bodybuilder go to the gym every now and again to train or (virtually) every day? Makes sense huh:)

And Finally
Leave your camera on all the time and with no lens cap. You can bet your life that something will happen in front of you and if you’ve got to turn on your camera and remove the lens cap you might just as well forget it.

Above all enjoy yourself. Needless to say this is going to be a very regular thing, and Neal and myself have already planned the next ‘Mini Photo Walk’ which will see us down in Bournemouth but after that who knows where we’ll end up. What I do know though is that we’ll be out with our cameras in the fresh air, shooting, having a laugh, making some pictures and learning along the way…fancy it?

Got any questions or comments or maybe even some tips of your own, then please feel free to make use of the comments section below; it’s always great to ‘hear’ what you have to say.

Enjoy:)

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Monthly Guest: Concert Photographer Allen Ross Thomas (@artistxposure)

Glyn: Allen thanks so much for being a Guest Photographer here on the blog; I really do appreciate it mate.

Allen: Hey no problem at all it’s very nice of you to ask me.

Glyn: Ok so I guess the first question I want to ask you is ‘How did you get started?’

Allen: Well I actually started shooting some years ago but life took over as it does going to college, work, marriage, starting a family and photography fell by the wayside. TIme passes, life changes, and you end up back with your passions. Seven years ago, in 2003, a friend of mine invited me to a local festival, ProgPower USA which is an annual festival here in Atlanta which features progressive rock and metal bands largely from Europe. A photographer himself, he informed me the festival was camera friendly so I went along with the camera I had at the time which was a Nikon Coolpix 5700. This was the catalyst for me. Shortly thereafter, I invested in a Nikon D70 and started going out and shooting at local clubs as much as possible. Shooting and networking, local clubs lead to shooting regional acts. Shooting and networking. Regional acts lead to shooting national acts. Lather, rinse, repeat. Over time I’ve managed to build a nice portfolio and establish a solid reputation with local and national media outlets and artist management.

Glyn: So how come you’ve chosen to specialise in music as opposed to say ‘Portraiture’ or ‘Editorial’ Photography?

Allen: I suppose photography is photography right? But in fact, for me, and many other genre specific photographers it is the subject matter and the challenges therein to a specific type of photography that gets you excited and ever challenges you. I am a music lover. I am also a photographer. I love the quirks navigating the music industry as well as walking into each and every assignment no knowing what to expect, having to get my head into it within about 3 seconds, shooting 10 minutes and then having to come away with 20 or so great photos worthy of publication.

Glyn: When it comes to camera gear what are you shooting with at the moment?

Allen: At present I am shooting with Nikon D700′s and I’m shooting dual bodies. Generally when it comes to lenses I have with me what I call ‘The Holy Trinity’ which is the Nikon 14-24mm f/2.8 , the Nikon 24-70mm f/2.8 and the Nikon 70-200mm f/2.8. They easily handle most if not all the live performance shooting situations I find myself in as well as also allow for some creative freedoms. I really love the wide angle of the 14-24mm when you can pull it off, especially when the artist comes out to the edge of the stage and does a lot of crowd interaction. The 24-70mm is a perfect mid range focal length for normal stage front positioning. Finally the 70-200mm is exceptional for the long shots such as catching the drummer at the back of the stage or if I’m in a crowded pit shooting down stage. While I don’t buy into the brand wars in the photography world, I am most comfortable with the Nikon system and I trust it to not let me down.

Glyn: So how on earth do you prepare for shooting a live concert?

Allen: I approach a live shoot with the same level of detail as any photographer would prepare for a shoot. First and foremost is pre show equipment check and clean. Charge batteries, clear memory cards, check settings, check camera straps and connections, and general working order of my equipment. I then pack my kit based on
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