You may not realize it but some of how Camera Raw behaves depends on whether you open an image from Bridge or from Photoshop. Here’s how:

Freeze Photoshop or not?

Open a Raw image in Photoshop and it opens, of course, in Camera Raw. But look at the screen – Photoshop is open but the window is frozen. You can’t minimize it and you can’t work in Photoshop at the same time as work in ACR.

Close the image and now do the same thing from Bridge – right click a Raw file and choose Open in Camera Raw. See the difference? When you open a Raw file from Bridge it opens in Camera Raw but without seizing the Photoshop window as well. You can still work in Photoshop at the same time as you work in Bridge.

In short, if you want the best of both worlds – Photoshop and Camera Raw then head to Bridge to open your images from there.

Bypass Camera Raw

If you’re in Bridge, you can bypass Camera Raw entirely and open a Raw file direct in Photoshop by holding the Shift key as you double click the image in Adobe Bridge. The image opens automatically in Photoshop. This is handy, for example, if you’ve already processed an image in Camera Raw in the past and if you now want to work on it in Photoshop.

JPGs to Camera Raw

In Camera Raw you can make adjustments and craft images often much more quickly and easily than you can in Photoshop. This being the case, you may want to use Camera Raw for your JPG files as well as your Raw files. In Photoshop CS3 and later versions, you can open any JPG in Camera Raw by right clicking the JPG in Bridge and select Open in Camera Raw. You can’t do the same thing from inside Photoshop.

As a bonus the changes you make to JPG images in Camera Raw are undoable. So, for example, if you convert a JPG to greyscale in Camera Raw and click Done, the photo will show as greyscale in your Bridge thumbnails. However, open the JPG in Camera Raw again and you’ll see the changes aren’t permanent – you can undo them and return the image to full color – don’t try that in Photoshop!

So, if you’re not using Bridge – there are three good reasons for considering changing your workflow habits.

Post from: Digital Photography School - Photography Tips.

3 Things to Know about Working in Adobe Bridge

This week, we had another kitchen assignment and we wanted to know What’s in your Refrigerator? Sometimes it was scary, sometimes it was funny, but there were a lot of good shots this week. And if there’s one thing that always has the ability to make me smile when tallying up the assignments, it’s that we often get at least one new forum member in the top 3. But this week, all 3 of our winners had less than 30 posts! There are some very talented new forum members out there. So, without further delay, our winner this week was katot9’s “The Thing in the Refrigerator”. This shot really took some planning and effort. Not only was everything in the refrigerator well lit, but so was the person looking in. And to top it all off, the composition and details were excellent. This was a clear winner this week. Our first runner up was violett213’s “In the Fridge.” The composition of this shot was really nice, and the black and white suited it well. And you can’t help but think of midnight snacks when you see a shot like this. And last, but not least, was
JaiCatalano’s “Touch the Ice Cream and Die”. Oh, the humor of this one was great, as was the motion blur that was captured. It was definitely well done.

Whether it’s summer or winter, that shouldn’t stop you from participating in our latest assignment, Water in Motion. When water is moving, you have a few options for how to capture it. You might stop the motion and essentially freeze it, or you might show the motion through those soft silky streams of water that happen when you use a longer exposure. We want you to show us water in motion. Show us how it moves and how you capture that movement. But, before you post, just have a quick read of the rules. First, your photo must have been taken between 21 July – 4 August 2010. Second, your post must include the words “Assignment: Water in Motion” and the date that the photo was taken. Finally, your EXIF should be intact, and it’s useful if you can include some of the main information like camera, lens, shutter speed, aperture, ISO, etc. Next week’s assignment will be Motion Blur: People or Animals. So you’ll have to show either people or animals in motion, not the backgrounds. Good luck!

Hot Threads

• Photography Inside Flight: So, if you’ve been on a plane (especially around sunrise or sunset), you might have looked out the window and thought “gee, I wish I could capture that gorgeous view.” Well, how do you capture the view out the window? Come add your thoughts, suggestions, tips, and even share a photo or two and tell us how you took it, over in the forums.
• What Happens When / If I Die?: It might not be something you really want to think about, but consider how many photos you’re probably taking, and consider what would happen if you were to die? What happens to the copyright? Who is allowed to have access to them? Do you have a plan for your digital photos? How will people know where they’re stored even? It might not be happy, but it’s definitely something to consider, so come share your thoughts over in the forums.
• What to Look for in a PC: Ok, let’s cheer things up a bit, and think instead about how to make sure your computer can deal with all your photo editing needs. How do you decide how much RAM you need, what kind of processor to get, and what you need in a video card? Come share your suggestions for what’s needed in a photo editing machine over in the forums.
• What if I Fried my Memory Card?: One of the dangers of underwater cameras is the potential for water to leak into the memory card slot. But what happens if you experience that? Well, one forum member has. There are some great suggestions for what to do if you think your memory card has gotten wet and some suggestions for if you still need help. If you have any help or suggestions to add, why not chime in over in the forums as well.
• Powerful Portraits: One forum member is looking for help with determining how to shoot a powerful portrait? Just what is it that makes a powerful portrait? Is it the pose, the lighting, the angle? Come share your thoughts and suggestions and help out another forum member.

Post from: Digital Photography School - Photography Tips.

This Week in the Digital Photography School Forums (25-31 Jul ‘10)

This bounces off our post earlier today – 5 Photo Ideas for Shooting Close to Home – but you could also interpret it any way that you want and do something a little more abstract on the theme of Home.

Once you’ve taken your “Close to Home” image, upload it to your favourite photo sharing site and either share a link to it below or embed it in the comments using the our new tool to do so. Please note it sometimes takes us a while to approve comments with images as there’s a moderation queue – particularly over the weekend.

If you tag your photo on Flickr, Twitter or other sites with Tagging tag it as #DPSPHOME to help others find it. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

PS: don’t forget to check out some of the great photos shared last week in the PHOTO WALK challenge.

Post from: Digital Photography School - Photography Tips.

Close to Home: Weekly Photography Challenge

It’s Saturday morning, a beautiful day and your photography juices are flowing. Your trigger finger is itchy and you just want to get out and shoot photos. You pick up your gear bag, take a step towards the door and then stop. What are you going to shoot? The inspiration bank is suddenly empty.

I have been in this position often and my solution has always been to go to the ideas book I keep. Like a photo journal of thoughts and ideas. Always keep one with you and as soon as you get an idea, write it down. Out of this ideas book comes five photo ideas close to home. Why close to home? The more difficult it is to get to a location the less likely you are to go there so you need to make it easy.

1. In the Kitchen

Image by limonada

Don’t laugh or discard this idea before trying it. I was standing in front of the sink the other day and realised a great photo opportunity was staring me in the face. There in two large jars was a variety of kitchen utensils just waiting to have their photo taken. Full of holes, texture, pattern and all shiny and bright with great reflective surfaces. The draws are full knives, forks and spoons. How much more could you ask for. If you have a macro lens, macro feature on your lens or compact camera then this is for you. Try it and see just how rewarding it can be. The kitchen is a great place to learn digital photography and the weather will never affect it. Just watch out for the water sprayer. But don’t just limit yourself to the kitchen, try the bathroom (not toilet) and other parts of the house.

2. The Garden

Image by Ashley Rose

One step away from the front door is the garden. And, I’m not just talking flowers and insects here. Look around and see what there is. Get down low and explore the ground and you’ll be surprised what you see. The cracked pathway, a coiled hosepipe or a rusty hand trowel standing in a flower bed. Metal buckets, watering cans or wheelbarrows all have photo potential. Just be prepared to look and start seeing with a photographer’s eye. You will surprise yourself. Again, a macro lens will be great but you won’t necessarily need a macro feature.

3. The Driveway or Garage

Yes, still close to home and many opportunities. The family car if you have one, or, perhaps the neighbour’s motorcycle if you don’t, makes a great subject. Getting in close on the most boring car can give you images that you never thought were possible. Key here is to experiment with angles and get in as close as your lens will allow. Focus on colour, reflection and lines. Lie down on your back and shoot up. If the car is old then focus on damaged parts like rust. There are just so many little things you can shoot and when viewed up really close can give an amazingly abstract image.

4. The Park or Public Gardens

Image by Chaval Brasil

Around the corner for many of us is a park, public garden or kids play park just waiting to be photographed. Here you’ll find all sorts of objects from sculptures to water fountains, play equipment to stone walls.

When you get there just sit and observe and try to see the potential photo opportunities. Allow yourself to start seeing rather than just looking around.

5. The Local flea or Street Market

Image by funadium

Street photography is a real hot photo topic at the moment. Going into a flea market and shooting just anything, from people to colour to antiques and art are just some of the ideas. Be sensitive to people and when shooting close up ask their permission. You’ll find so much atmosphere and activity that will stimulate you to shoot many interesting subjects. This is a great place to learn digital photography because the opportunities and ideas are so diverse.

These five photo ideas close to home will hopefully inspire you as you learn digital photography and add skills to your photography journey. Shoot regularly and don’t allow a few obstacles to stop you taking great images.

Share Your Ideas and Shots

Over the next few days – try some of the above photographic subjects and come back to share your best shots in comments below.

What other ‘close to home’ photo subjects have you enjoyed photographing?

Post from: Digital Photography School - Photography Tips.

Five Photo Ideas for Shooting Close to Home

Let’s face the facts; lugging a tripod isn’t always a fun way to take pictures. Ignoring the obvious complaints, which include their size and weight, tripods are actually becoming banned in a number great shooting locations. Unfortunately, hand holding a camera in low light can be extremely difficult and many honest attempts result in soft images.

Thankfully, any of these three techniques will greatly improve the likelihood of sharp hand-held images.

A. Correcting the stance

Most photographers are familiar with how to hold a digital camera in their hands, but most ignore the important aspect of body position. Many people lean forward, leaving their arms to hold the camera steady. Much like lifting a heavy object, the weight is best handled by your legs so adapt your step to fit these guidelines:

1. Hold the camera with both hands. The left hand will be on the lens, while the right holds the camera body and controls the shutter.
2. Take a half step forward and keep your knees bent. This will distribute your weight equally over both legs.
3. Bring the camera up to your common shooting position. For dSLR cameras, this means with the viewfinder held firmly in front of your right eye, while compact cameras should be held at eye level, about 15 cm in front of the face.
4. Squeeze your elbows tightly against your sides. The left forearm should be completely vertical and behind your toes. Avoid the temptation to lean forward and take the weight off your legs; leaning forward will result in camera shake.
5. Take a deep breath and let the air out. Before taking the next breath, press the shutter as gently as possible.

B. A pocket-sized tripod

While tripods are awkward to carry, this technique will add a pocket-sized solution to low-light shooting situations.

1. Before going out shooting, cut a string that equals your height and keep it in your pocket or camera bag.
2. At the low-light shooting location, take the string out and loop it around the camera lens. Let the extra string fall to the ground.
3. Step on the loose end of the string and slowly raise the camera to your eye. Carefully pull the string taunt, while making sure not to pull hard enough to effect the camera-to-lens connection.
4. With the string pulled tight, stand in the same position described in the first technique, and gently push the shutter.

C. The Joe McNally Grip

Photographer Joe McNally, best known for his speed-lighting techniques, regularly shoots for publications like Sports Illustrated, National Geographic, and the now defunct Life Magazine. Despite shooting in various lighting situations, he rarely uses a tripod. Instead, he uses his own grip style that requires shooting with the left eye. With a little practice, this grip allows photographers to handhold with really slow shutter-speeds.

1. Follow the same foot position as technique one, with the left foot in front of the right, shoulder width apart.
2. Turn your upper body so that your left shoulder is pointing towards your subject.
3. Holding the camera with your right hand, bring the camera up and set it on your shoulder. The corner of the camera body should sit in the small hole behind your collarbone.
4. Use your left hand to brace the camera against your body. Anchor your weight equally on both feet, and lower your left eye to the viewfinder. Take the shot after letting out a deep breath.

Jeff Bartlett is a freelance travel photographer and writer. He splits his time between opposite ends of the earth; he lives six months in northern Canada before heading south for six in Argentina. He is also the editor of The Camping Cook..

Post from: Digital Photography School - Photography Tips.

Prevent dSLR Camera Shake With These 3 Techniques

*Image Credit Nicole Hill.

Babies, babies everywhere! It seems like everyone around me is either pregnant or has a new born! I’m a total sucker for tiny people. I love the way they look, all pink and wrinkled. I love the way they smell, like baby powder, and well, let’s just face it, slightly like sour milk. I even love the way they sound, fire engine siren screams and all.

However sweet they may be, they are NOT the easiest of photographic subjects! Here are 6 tips to nailing your next newborn session with flying colors.

1. Plan ahead of time!

Here are some things you’ll want to discuss with Mom and Dad about a day or 2 prior to your scheduled shoot.

• Talk to Mom and Dad about the baby’s schedule. They may or may not have one, but one way or another, 9 times out of 10 Baby’s parents will be able to tell you which time of day their baby tends to be at their best, most calm state.
• If you’re shooting the baby at home, be sure to get specifics as far as where Mom and Dad would like to shoot. If you don’t have studio lighting (which I don’t) you’ll want to make sure you know which way the windows in the chosen room are facing at the time of day you’re shooting to be sure you’ll have adequate light.
• You’ll also want to know how Mom and Dad feel about wardrobe (or lack there of) for the baby. I love a naked, pink, wrinkly baby booty, however, not all parents share my affinity. Be sure to discuss this with Mommy and Daddy before you get to a shoot, ask Mom to strip the baby down, and then have to deal with awkward tension when she says “no way!”
• If the parents are comfortable with shooting baby in the buff, be sure to request that they remove all baby’s clothing at least an hour in advance of the scheduled shoot so that the baby won’t have any funky clothing lines on their skin. I even tell my clients to fasten the baby’s diaper loosely during this time as well. Those lines can be fixed in Photoshop, but I for one would MUCH rather be out shooting than spending hours using the healing tool in front of my computer.

2. Come PREPARED!

Make sure that you have EVERYTHING you need VERY well organized and easily accessible. Babies are fidgety, fussy and very impatient, and you’ve got to take the initiative to plan accordingly.

• If you’re using studio lighting, you should be set up at least 10 min before you’re scheduled to start shooting. That will give you time to run a few test shots before the baby is brought into the room.
• This next one is a given, but remember that sensors and lenses should be checked before the shoot and cleaned if necessary. You can’t afford to stop in the middle of a newborn shoot because you notice a spot on your sensor. Babies are not as forgiving as their adult counterparts. They’re like ticking time bombs, and I guarantee all you moms and dads out there are nodding in agreement!
• Get a good night’s sleep! You have got to arrive a vision of patience and with energy to spare. Remember, you’re likely walking into a home where NO ONE has gotten more than an hour of consecutive sleep for days on end. The last thing everyone needs is another exhausted, grumpy adult, whose patience has run dry to add to the mix. YOU set the tone! Come with a full tummy and a good night’s rest. (The full tummy thing is PARTICULARLY important for me as I tend to have low blood sugar. My patience, not to mention my creativity, is out the window if I don’t have something in my belly).

3. Get the Details!

Don’t be afraid to get in close and focus on the details. Most images I shoot of babies are shot with very low apertures (wide open) to encourage very shallow depth of field. I’m not by ANY means saying that this is right for everyone, but this is my particular style, and I do this for many reasons.

• They are only tiny tiny for a VERY short time. I like to focus in and capture little feet and toes for example, before they slip away into roller skates and ballet slippers. . . it happens sooner that you know!
• Shallow depth of field creates a mood of tenderness and intimacy which are so very appropriate for a shoot of this nature.
• The main reason that I shoot the majority of my infant sessions with such shallow depth of field is that shots like this, in my humble opinion, help depict how suddenly your whole world is about that little person. Though everything else around you may be out of focus, the one thing that matters is perfectly clear.

4. Bring a Hat!

My friend and fellow photographer/mentor, Nicole Hill, of Nicole Photo (nicolephoto.com) and A Little Sussy (nicolehill.blogspot.com), recently informed me that a little stocking cap (beanie) can be a solve all for the . . . (cough cough) alien looking infant! Well, she didn’t say the alien part. That’s all me, but we have to just be honest and admit that often tiny babies look a little like E.T. My 3 boys included. Yup, I said it. If you saw their baby pictures, you couldn’t deny it either! Nicole is right, a beanie can cover a misshapen head or just soften a face that hasn’t quite grown into it’s features. Enough said.

5. Establishing Shots!

Establishing shots are images that establish the feeling, location, etc of the time during which an event took place. In this case you’re trying to tell a story about the feelings surrounding the birth of a new child. The welcome of another little person into an already established family unit. Each family unit will be different than the next, but each is special and should be documented as such. For example:

• If you’re shooting in a home, most likely you’ll be in a nursery. Grab a shot of that! Establish the environment. It will be a treasure for the family to remember what their home was like at the time that they welcomed their little sweet heart into their heart and home.
• Whether in studio or on location, try to grab a shot that establishes the whole family as they were at the time of the birth.

6. For Heaven’s Sake: BE FLEXIBLE!!!!

You’ve got to be flexible. There are so many variables when shooting a tiny baby. They can be SO unpredictable. Remember to:

• Handle each hiccup in a loving way. I am convinced that babies can sense our tension and frustration and that they will respond in kind. Likewise, if we can remain calm and collected, they will find it easier to relax as well.
• If you have to stop, STOP! If the baby is on the brink of a full blown freak out, TAKE A BREAK! Let Mom and Dad pop in and calm baby down, feed, burp, change a messy diaper, whatever. NEVER push a baby to the point of no return. If you let a baby get to the point of total freak out. . . well, sorry sweetheart, you may just be plum out of luck. . . and with no one to blame but yourself. Be in tune to baby and let him/her run the show.
• If baby is fussing just a bit, you may not be bothered by it. Mom on the other hand may be totally on edge. Part of your job is to be aware of that. Ask her if she’d feel more comfortable continuing after she’s had a chance for a little snuggle. The last thing you need is a Momma bear worried about her cub. I’d ellaborate, but something tells me, ‘nough said.
• Give yourself plenty of time. I have never had an infant shoot that has lasted longer than 30min-1hour. Maybe I’ve just gotten lucky! Probably so!! But I ALWAYS schedule a 2 hour block so there is time to feed, change, soothe etc between shots if necessary.

There are SO MANY more things to remember when you’re running an infant shoot. Hopefully the few I’ve shared will be helpful. Feel free to add others in the comment section below! I also encourage you to make a checklist out of the information above to be sure you’re prepared in the future!!

Happy Shooting!

Natalie Norton lives and shoots on the North Shore of Oahu, Hawaii with her wonderful husband and her 3 crazy sons! Raleigh (5), Cardon (3) and Lincoln (22 months).

PS from Darren: Coincidentally – I also had another baby photography tutorial submitted yesterday – so as we’re in a baby mood here at DPS this week I’ll post that one tomorrow – I think they compliment each other nicely. Stay tuned!

Post from: Digital Photography School - Photography Tips.

Baby Photography: Photographing Babies Without Losing your Mind

Now we have the Olympus SP-800UZ with an enormous 30x optical zoom that equates to a 35 SLR range of 28-840mm and, note, the tele end enjoys an f5.6 aperture. Check out the difference – shooting at either end of the zooms range:

The camera has 14.0 megapixel capture that can shoot a maximum size image of 4288×3216 pixels, or enough to make a 36×27cm print.

In video it can record 1280×720 pixel resolution, viewed via the large 7.6cm LCD screen. The odd thing is that you cannot use the optical zoom whilst shooting… but you can preset the zoom position before you start to roll.

There is face detection for shots that contain up to 16 faces. An interesting Shadow Adjustment can be left on or off or even set in auto. Whilst the manual gives little info away about this function, it would appear to be able to control the brightness range in pictures.

The camera has four continuous speed settings: that range from about 1fps to 10fps that range in size from 4288×3216 to 2560×1920 — very handy when you need it.

Go to the LCD screen and you can choose from Program AE, iAuto, 14 scene modes; Magic filters; Panorama and Beauty to soften skin texture in portraits.

Added to this list is an HDMI output for HD viewing on tele and a whopping 2GB of internal memory.

Olympus SP-800UZ ISO Tests

At ISO 50 a clean and sharp image.

The ISO 800 shot still shows a good performance

Noise and artefacts apparent at ISO 3200 while sharpness is reduced; note also that camera shrinks the image size down to 2560×1920 pixels.

Distortion

Barrel distortion is apparent at the zoom’s wide end, while the tele end shows only a small amount of pincushion distortion.

Startup Time

A slow performer, the SP-800UZ took four seconds before I could shoot the first shots; follow-ons were about three seconds apart.

Comment

Quality: about average, not brilliant but OK; sun flare was a problem in some situations.
Why you would buy the SP-800UZ: you have hands steady enough to fully take advantage of the long zoom; you want a really compact, pocketable camera; you need a ripper continuous shooting feature.
Why you wouldn’t: you have the shakes; you need more exposure control in the form of shutter and aperture settings; the camera’s bulk does not deter you.

The SP-800UZ appears to share not only the CCD as well as many features with the more compact and far less optically powerful Mu 9010 Tough camera.

One sour note: the battery/memory card compartment is easily opened accidentally.

Olympus SP-800UZ Specifications

Image Sensor: 14.0 million effective pixels.
Metering: ESP and spot.
Sensor Size: 11mm CCD.
Lens: f2.8/4.9/4.9-147mm (28-840mm as 35 SLR equivalent).
< strong>Shutter Speed: 15 to 1/2000 second.
Memory: SD, SDHC cards plus 2GB internal memory.
Image Sizes (pixels): 4288×3216, 3264×2448, 2560×1920, 1920×1080, 1600×1200, 1280×960, 640×480.
Movies: 1280×720, 640×480, 320×240 at 15/30 fps.
LCD Screen: 7.6cm LCD (230,000 pixels).
File Formats: JPEG, WAV, Motion JPEG.
ISO Sensitivity: Auto, 64 to 3200.
Interface: USB 2.0, HDMI, AV.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 107.3×73.4×84.7 WHDmm.
Weight: 418 g (inc battery and card).
Price: Get a price on the Olympus SP-800UZ at Amazon.

Post from: Digital Photography School - Photography Tips.

Olympus SP-800UZ Review

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