The Color RED 

 

red

Red with handpainted border

This holiday season is wrapped in red heart colored ribbons instilling messages of love and good will.

Red, both a pigment and light primary color, sits on top of the rainbow and the “Adobe Color Picker.” At its digital purist, red is 255 R, 0G, 0B.

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Red sits on top of the “Adobe Color Picker”

Red is an attention grabber. Food photographers know that red stimulates appetite and product photographers will use bold reds to help brand companies. Check out the logos for Canon, Costco, Netflix and Target. Portrait photographers use red to create flattering flesh tones. Red can emphasize a toddler’s vitality or convey (with a red sweater) a teen’s confidence. Juxtapose red with green to add contrast (green and red are complementary pairs and create a natural impact). Red, considered a warm color, creates an optical illusion of an object moving forward in a composition.

Red has the longest wavelength and is said to be the first color a baby sees. Red stirs emotions; it is powerful, seductive, and elegant. At its full intensity, red jostles the senses-red may even raise your blood pressure.

While both reddish, red is not the same as magenta; red is a primary and magenta is a secondary color of light. When mixing light primary colors, red light and blue light combined will create a magenta colored light. Reducing red in your digital file will increase the amount of cyan, while reducing magenta will add more green. (See the screenshots used to adjust the flesh tones.)

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Original photo

Photoshop

To reduce the reddish flesh tone, I move the red slider to the left, thus adding more cyan.

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Alternatively, to reduce the reddish flesh tone, I can add more green by moving the magenta slider to the right.

Enjoy your holiday and realize the potential of red.

Join me for my class “All About Color” to learn more about Color Theory.

Cheryl Machat Dorskind teaches the following classes at BPSOP:

Lightroom Folder Panel Tips

There are a lot of really helpful menu commands you can discover if you make a habit of right-clicking various items inside of Lightroom 3. Here are a couple of Folder panel tips every Lightroom user should know about.

Update Folder Location

Let’s say you bought a new hard drive and you want to copy your entire existing folder structure of photos to the new drive and have Lightroom point to this new drive instead of the old one. This is where Lightroom’s Update Folder Location command comes in handy. Here’s how to copy your existing folder structure to a new drive and keep Lightroom in the loop:

1. Open Windows Explorer (or Finder on a Mac).

2. Copy the entire folder structure (as-is without changing the structure) to the new drive.

3. Open Lightroom.

4. Once the copy operation is complete, right-click (Mac: ctrl-click) the top-most-level folder in the Folders panel and choose Update Folder Location.

Lightroom_tips

5. In the resulting dialog box, navigate to and select that same top-most-level folder in the new drive (the one you just copied over there).

Lightroom will update the catalog to point to the new folder (and everything inside of it). Give it a test run to make sure everything is as it should be before removing the originals from the old drive.

This entire process is made much simpler if the top-most-level folder (or parent folder) containing all your photos is visible in the Folders panel because then you only have a single folder to update.

Add Parent Folder

Let’s say you have a folder structure by year like this:

Lightroom_school

Which is fine, but now you need to move or copy all those folders to a new drive. In this setup you would need to move one year at a time because Lightroom won’t let you select multiple folders for a move operation, or if you did the Update Folder Location trick above you would have to update each folder separately. However, if the parent folder of all those year folders was added to the Folders panel you could just select the parent folder and move or copy it to the new drive, which would bring along all the subfolders and their contents.

To add that folder, just right-click (ctrl-click on Mac) and choose Add Parent Folder from the contextual menu.

Lightroom_Online

This results in that parent folder appearing in the Folders panel.

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This not only makes it easier to manage folders but also gives you one more collapsible level of structure in your Folders panel.

Promote Subfolders

On the subject of adding a parent folder I also want to show you how you can remove a parent folder from the Folders panel. Let’s say you have an upper level folder showing in the Folders panel, and there are not any photos stored at the root level of this folder. This is just a parent to your parent folder and it only contains other folders. For example, in this screen capture the folder called nDrive is just the parent of my Imported_Photos folder and contains no photos of its own.

BPSOP-5

It really is just taking up space in my Folders panel and I’d like to just remove it from the catalog. It will still exist on the drive of course, but I won’t see it in Lightroom anymore. If I right-click (ctrl-click on Mac) the nDrive folder and choose Promote Subfolders:

online_photo_school

I will get prompted with this confirmation dialog:

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Lightroom is making sure I really want to remove that folder because any photos stored at the root of that folder would also be removed from the catalog. Since there aren’t any photos at that level I’ll click the Promote Subfolders button and the nDrive folder vanishes from the Folders panel.

Note: Having a solid backup in place prior to such a big operating is always a good idea.

One of the most important things every Lightroom user can do is to remember to perform all file/folder management tasks (moving, renaming, deleting, etc.) from inside of Lightroom so that you maintain the connection between the Lightroom catalog (database) and you photos. These are some of the things we cover in my Lightroom for Everyone here at BPSOP. If you’ve ever struggled with any aspect of Lightroom then this class is for you. I’m also happy to answer any questions you may have about my class or Lightroom in general, just visit my blog and drop me a line: http://lightroomers.com

Cheers!

Rob Sylvan / Instructor for BPSOP

Rob Teaches:

Lightroom for Everyone

WHY AM I THANKFUL?

bryanWhy am I thankful? It’s an appropriate question to reflect upon and to answer on this Thanksgiving Day in America! I am of course extremely thankful for my son and two daughters for their unwavering love and support of what I have been able to do with a camera throughout my life as an adult.

Over the course of the last 35+ years, I have been afforded countless opportunities to share my love of image making with a world-wide audience through my books, my online photography school and in my live workshops that I conduct around the world. Everyday, (okay, not everyday, but almost everyday), I wake up with a passion to share my love of image making with whoever wants to listen and I am just as eager to listen to others share their passion for image making with me!

These many years of shared experiences with like-minded people have taught me one vitally important lesson, a lesson that has really served me well in dealing with the many tragedies that the world has seen these last few months.

Although it is tempting for some, I remain a firm believer that you can’t paint everyone with the same colored brush, no matter whose side you are on, no matter where you live in the world, no matter your gender, no matter your religious views, no matter your education and certainly no matter what kind of camera you use. I have seen far too much uniqueness in this world!

Without fail, anytime I have felt tempted to paint a given neighborhood, group, culture, city, country or business with the same brush, I end up hurting myself, closing myself off from the very thing that keeps me hopeful! And that thing that keeps me hopeful is a constant belief that most of us on this earth are really and truly, at our core, good people, with many good and unique intentions!
(Some of you may have just recognized that I just painted most everyone with the brush of ‘goodness’ in that above statement…yes, I did!)

paint

I have felt for years that most everyone comes into this world with a unique and very individual ‘brush’. With time and circumstance, that brush will leave a lasting and nurturing mark, perhaps on just one person or perhaps on many but a healthy mark none the less.

It might be hard to imagine, since this image is just a “wildly colorful and crazy display of used paint brushes”, but now that you have read the above, you can perhaps understand how deeply this image affects me. It serves as a reminder that the world I live in is really a color-filled world of people, with each person desiring of leaving their own unique and lasting mark, big or small, for the good of mankind.

“You Keep Shooting!”

Bryan F Peterson/Founder
BPSOP.com

Enhancing the Third Dimension

The world we live in has three dimensions which we can perceive visually. Photography only gives us two dimensions with which to recreate this three dimensional world. As photographers, we must learn to play on the cues our eye-brain visual system use to decode our three dimensional world in order to create strong photographs.

Our eye-brain visual system uses several visual cues to determine relative distance or “depth” in a scene in front of us, among them relative size — whenever we have familiar objects in the frame, we use their relative size as a clue to which one is nearer or farther from us. Other visual cues such as receding lines that appear to converge create the illusion of great depth; lines on a highway would be a familiar example.

Image 1

The two images above use size as one visual cue to let us figure out which objects are closer and which are farther away. The flower also uses differences in sharpness to aid in creating an illusion of greater three-dimensional depth: the bloom that is both sharper and larger appears to us as being closer. The image of the Amsterdam canal boat uses relative size, as well as converging liners to create the illusion of depth.

There is also another visual cue that we can use to create or enhance the illusion of “three-dimensionality”: the relationship between light and dark tones in an image.

All things being equal, areas in a picture that are lighter in tone will appear to advance toward the viewer, and those that are darker will appear to recede.

Image 2

The Abbey Senanque near Gordes in Provence sits in a roughly north-south oriented valley. Because of this, by the time the sun rises above the surrounding hills in the morning, we are well past the time of best light for landscapes. The situation is a little better in the evening, so I prefer to arrive just before the sun’s last rays leave the valley. By then the valley floor with its the rows of lavender in front of the abbey are in shade, while the bell tower is still catching the last warm rays of sunlight. In this image I liked the arrangement of lines and shapes, but the flat lighting of the open sky makes the lavender rows appear flat and a lifeless.

This is a good opportunity to work on the light – dark relationships in the foreground to re-create some of the dimensionality that is missing, but which is so immediately evident when standing there. Creating the illusion of greater depth and dimension is a simple process of making the tops of the rows appear lighter than the ground between the rows. This difference in tone is already present to some extent: all we are going to do is enhance what is already there naturally.

There are several ways to accomplish this task, but this is one that I like because it is simple to do, and easy to control.

1) Begin by opening the image in Photoshop

2) Next, add a new layer by selecting Layer>New>Layer from the menu.

Image 3

3) Set the Mode for this new layer to “Overlay” and select “Fill with Overlay neutral color (50% gray). Name the layer with a something descriptive… like “Dodge & Burn

Image 4

4) When set to overlay mode, the neutral gray we have filled the layer with has no effect on the image. If however, we paint on the layer with a gray shade that is lighter than 50%, we will lighten the underlying tones in our image. Painting on the overlay layer with a shade of gray which is darker than 50% gray will darken the underlying tones in our image.

5) You are going to paint on the overlay layer with either white and black, NOT the image layer labelled “Background”. Make sure by clicking on the new layer you created before moving on. Now, hit the “D” key to make sure your foreground and background colours are set to the default of black and white.

6) Begin by setting your foreground colour to white (if it isn’t, hit the “X” key to swap it so White is the foreground colour)

IMage 5

7) Pick up a soft-ish brush and size it for the areas you want to lighten

8 ) Set the opacity of your brush quite low, say around 10%, set the “Flow” to something less than 50% As we paint, we want to build up the areas that we are affecting slowly. It’s easy to overdo the effect of this adjustment..

Image 5.5

9) Paint along areas you want to lighten. I painted along the tops of the lavender rows… adjusting the size of the brush as needed. If you work slowly and build up the effect gradually with a low flow setting, you won’t have to be extremely accurate in your brushing.

Swap the foreground and background colours to make black the foreground colour (hit the “X” key), and paint in areas that you wish to make darker. I painted in the spaces between the rows of lavender in this image.

10) Here is my completed overlay layer, and the layer stack in Photoshop. If you wish you can further adjust the intensity of the effect by adjusting the opacity of the overlay layer.

Image 6

Here is the completed image:

Image 7

By playing on a few prejudices of our eye-brain visual system, we can easily restore some of the feeling of texture and three-dimensional form lost to the flat lighting of our foreground.

My course “The Art of Printing and Selling Your Art” deals with the basics of establishing a solid colour managed workflow to produce prints that match what you see on your screen as close as possible; that’s the technical part. Along the way we share images to demonstrate techniques like this to produce stronger images; that’s the art. The next class begins November 6th, I hope you will join me!

– Mark English – BPSOP Instructor

Mark teaches:

The Art of Printing and Selling Your Art

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  • "I think that this was one of the best classes that I have taken both at BPSOP and other online sites. Joe was innovative with new ideas and ways to take our photos up to another level. He also did excellent critiques of both our work samples and our class assignments. Joe encouraged free flow of questions and ideas in the Q&A. I would absolutely take another class from Joe!" Read More
    Anna Stretching Your Frame of Mind
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