ChromaticSoul :: The Blog

Compositing, or photo compositing, is the technique—art and craft—of combining images to create a new image. The newly created image often presents its own version of reality.

Compositing is often used in advertising, where the use of the technique is sometimes intended to be obvious and at other times is designed to be seamless. Compositing has sometimes been used in journalism, although this use is generally frowned upon when discovered. The opprobrium hasn’t stopped the usage—for example, the Communist party under Stalin used old-fashioned compositing to “purge” out early party leaders as they were discredited by altering historic photographs to remove those who had been purged from the party.

Compositing comes into its own as a fine art technique, where concerns are conceptual, aesthetic and visual rather than related to factual concerns, ethics and marketing. This article concentrates on compositing to create art images—in any case the techniques are essentially the same no matter what the intended usage.

As art, photo composites usually present essentially unreal or “impossible” worlds (this phrase has been used as a description of M.C. Escher’s work, and I like to apply it to many of my photo composites).

If you’ve ever considered this art and would like to learn how to do it in Photoshop, you’ll want to read this article in photo.net.

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Jeff Ascough was voted one of the top ten wedding photographers in the world by American Photo. He has been a professional wedding photographer in the United Kingdom since 1989. He has covered over 1000 weddings with a documentary photography style. Ascough emphasizes capturing the moment without any prompting or interference and using available light. American Photo voted Ascough as one of the ten best wedding photographers in the world.

He is also a Canon Ambassador and uses the Canon 5D Mark II’s due to the low light capabilities. Frank Van Riper in America’s Washington Post described Jeff as “A master at shooting by available light” and went on to describe his images as ”…among the best I ever have seen—an absolute pleasure to see.”

Jeff took a moment to answer questions from photo.net members in the Wedding Photography Forum. Here’s the original Q&A thread.

You can read the complete interview on Photo.net which includes indepth discussions of wedding coverage, workflow, wedding business marketing, gear, technique, album creation, personal style development and what inspires Jeff.

JPG is seeking submissions for their Issue #26. The themes are:

Urban: Cities can be crowded, dirty, overwhelming places. Ain’t it great? Post your favorite photo of a gritty, urban experience.

Juxtaposition:

–noun

1. an act or instance of placing close together or side by side, esp. for comparison or contrast.

2. the state of being close together or side by side.

With those definitions as your guide, give us your best juxtaposition photo!

p.s. NO DIPTYCHS PLEASE! The true challenge of this theme is to achieve juxtaposition in a SINGLE photo. Thanks!

Social Circles: For this theme, study the many social circles that make up our world. While you may decide to document your own social network, make sure to also consider looking at the many other groups that are around you. Wherever you decide to focus your camera, try capturing what ties that particular social circle together or what distinguishes them from others.

Smooth, flawless-like skin can make or break a portrait. You can quickly make any skin look creamy soft by tapping the K key in Adobe Camera Raw 5 which will bring up the Adjustment Brush. Then set the clarity slicer to ~40 to start with. Brush over the skin you want to smooth and step back to review. If you want it smoother simply drag the slider farther to the left. This quick tip will help you to get good portraits and allow your patrons to quickly view proofs before any other changes are made with the Healing Brush in Photoshop.

For some time now, I’ve been searching for a good quality wide-angle lens. Allen Weitz from B&H recently spent some time with Nikon’s AF-S Nikkor 16-35mm/4G ED VR lens.

The first thing you notice about Nikon’s new AF-S 16-35/4G ED VR is its size. Though in no way heavy, and if anything, quite well balanced, the lens looks more like a moderate zoom lens, say a 28-105, as compared to the shorter physical sizes of ‘typical’ wide zooms. Looks aside, Nikon’s latest ultra-wide addition to its growing optical line-up is a true wide-zoom workhorse.

Read the complete review over on B&H.

From B&H Insights:

…while we can’t possibly address the optimum shooting parameters needed to squeeze the highest performance out of every lens on the marketplace, there are a few guidelines we can offer up that might at the very least influence the way you go about taking pictures.

The first thing we have to do is define the difference between maximum sharpness and maximum focus. If your goal is to squeeze the maximum levels of image sharpness out of your lens you can achieve this by simply stopping your lens aperture down 2.5 to 3-stops from the lens’s maximum aperture. As an example, if the maximum aperture of your lens is f/2.8, you’ll want to shoot with your lens aperture set between f/5.6 and f/8. For a lens that has a maximum aperture of f/3.5, the sweet spot of your lens resides somewhere between f/8 and f/11. Similarly, if your lens has a maximum aperture of f/1.4, the sweet spot of your lens is located somewhere between f/2.8 and f/4. And this simple rule of thumb works with most every lens you’ll ever own.

Read the rest of the article here.

If you’re a member of Kelby Online Training, then you likely already know about this great class. If you’re not, then check it out.

David Ziser, world-renowned photographer is teaching a class on everything you need to know about shooting a live wedding.

Wedding Photographer David Ziser invited the Kelby Training cameras to follow for an entire wedding shoot. His day begins with some shots of the bride getting ready, then outside for group shots, then on to the ceremony and reception. David lets viewers see his equipment choices, shot selections, lighting techniques, camera positioning, and finally, he talks about the process of choosing which images to work with in post-processing.

  1. Introduction and Equipment (06:37)
  2. Getting Started at the Bride’s House (09:56)
  3. Scenic Overlook (05:06)
  4. Outside the Church Before the Ceremony (11:12)
  5. Inside the Church (08:25)
  6. The Reception (14:52)
  7. Reviewing the Key Points (27:43)

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  • thebail: Reblogged this on Underwater Ap
  • Veronica Lynne: Did you use it? It's RODEO time! That might make a good pic for the fb page to.
  • Veronica Lynne: Certainly. I am flattered. Just give credit--ChromaticSoul Photos. Also, I would love to see how you use it. The rodei is this weekend! Veronica Lynn