Richard shows ways to use Adobe Stock which you might find useful.
Richard shows ways to use Adobe Stock which you might find useful.
In his latest blog Richard runs through the latest updates to Photoshop CC
http://Major features New Start Experience (includes recent file thumbnails, document presets, Libraries access, and personalized tutorial content. Can be disabled in the preferences) […] You may view the latest post at http://blogs.adobe.com/richardcurtis/2015/12/11/photoshop-new-features/
Please find some notes from Ross following his tutorial to the Digital Group on 24th November
Subject: Photo For the Digital Group.
Requires no high speed shutter.
Create a mini studio on a solid base.
Set camera to manual
Set Flash to Manual
Set camera timer to 10sec run out of the dimly light room.
Exposure 2sec and rear curtain flash synk (Reduces shutter vibration)
Adjust flash power and aperture for exposure.
More defusing (Kitchen Towel) on main flash heads will soften the shadows.
If you are stacking, this is achieved by sliding the camera along the Arca Swiss rail using the printed scale.
The final image was created with filters in Photoshop (background only) the butterfly was masked off and remains untouched.
Set one of the main flash heads 1-2 stops higher than the other to create shadowing and visual depth.
Use Arca Swiss comparable slides, supports camera plates and clamps. http://www.sunwayfoto.com.cn/html/index2.html
Also Hejnar Photo http://www.hejnarphotostore.com
Articulated flash gun support arms http://www.ebay.com/bhp/magic-arm
Backgrounds must be non resin coated paper.
Please find a piece from David Harris on Macro and Close-up photography. This is dated 2013 but is still relevant .I hope to get some notes from Ross following last weeks demonstration.
Macro and Close-up Photography
(notes by David Harris with thanks to John Humphries)
Definition We use the term ‘macro’ loosely and freely apply it to any close-up image, especially of wildlife subjects. Technically, however, macro photography is the production of images which range from life-size on film or sensor (1:1) to around 25 times magnification. The accepted parameters are
Movement At high magnification, the slightest movement of the camera or the subject will blur the image. If possible the camera should be mounted on a sturdy tripod or, if low down, on a bean bag or similar. If the camera is handheld or there is any wind to speak of, high shutter speeds will be needed.
Depth of field The depth of field in macro photography is often extremely limited, sometimes a fraction of a millimetre. To maximise depth of field it will usually be desirable to close down the aperture. (For 1:1, depth of field goes from 0.8mm at f5.6 to 2.1mm at f22.) It may also be necessary to compose the subject in such a way that the elements to be in focus fall, so far as possible, in the same plane.
Lighting Good lighting is necessary both to show the subject to best advantage and also to allow the lens to be stopped down without resulting in an unacceptably slow shutter speed. However, the closeness of lens to the subject will probably exclude the use of on-camera flash.
Dedicated macro lens Specifically designed for close-up work. Generally come in three focal lengths ~ 50mm, ~100mm, and ~200mm. The longer the lens, the greater the stand-off distance (good) but also the greater the expense and weight (not good). Straightforward to use. Most macro lenses make excellent portrait lenses (but not the Canon MP-E65).
Supplementary lens Cheap alternative – a magnifying lens that screws onto the filter thread. Some loss of quality is normal.
Teleconverter Fits between the lens and the camera body, and relatively light and cheap. 1-2 stops loss of light.
Reversing ring An adaptor that enable the lens to be reversed with complications to manage!
Coupling ring Joins two lenses together, one reversed on to the other making the reversed lens a high power supplementary. Some challenges.
Extension tube Probably the favoured option, if a macro lens is not available. Often sold in sets of three, and best with relatively short lenses. An extension of 50mm enables 1:1 to be achieved with a normal 50mm lens.
Bellows Same principle as extension tubes but fully variable. Cumbersome, but can provide extremely high magnification ratios.
Macro flash Ring flash or twin units mounted on the front of the lens.
Focusing rail Fits between the camera and a tripod or other fixed mount and enables the camera to be moved very accurately forward and back and side to side. See section on Focus Stacking on next page.
Flexible clamps Invaluable for holding subjects in front of the lens in a pseudo studio setting or outside, and also for stabilising flowers etc. in breezy conditions.
Shooting close up and macro
Fieldwork (just my own thoughts)
A software enabled technique that combines a series of images and in which the software chooses the sharpest elements of each for merging into the final picture. The basic sequence is:
RPS expert John Humphries suggests 4 software options. I use Photoshop CS6 and cannot vouch for the others.
Photoshop – CS4 onwards
Helicon Focus – www.heliconsoft.com/heliconfocus.html
Zerene Stacker – www.zerenesystems.com/cms/stacker
CombineZP (freeware) – www.hadleyweb.pwp.blueyonder.co.uk/CZP/News.htm
It is possible to use focus stacking in ‘normal’ (e.g. landscape) photography, but use of a tripod or other mount is well-advised.
(David’s) Procedure for Focus Stacking using CS6
(with prep work done in Raw Converter)
Chichester Camera Club
22 October 2013
023 9247 5259
Please find below a link to the latest Richard Curtis blog concerning super sized images in Photoshop.
Digital Group Meeting
Tuesday 24th November 2015
David Harris and Ross Laney
“Getting in Close. Preparing and Taking the Shot”
David and Ross join together to demonstrate close-up and macro work with particular emphasis on preparation and equipment.
Latest blog from Richard Curtis from Adobe
A recent trip to Mongolia sent time with the Eagle Hunters and Nadaams, here is my short portfolio of the trip (All made with Adobe Slate).
Why not make your own and see how easy Adobe Slate is to use.
You may view the latest post at
Following the meeting of the group on Tuesday 27th of October the notes for Lorna’s tutorial are now available. Introduction to composite images
An Introduction to Composite Image Making with Layers and masks
Ann will give a tutorial showing how to draw the best out of an image and guide the viewers eye to the important part of the image.
Ann has asked for images for her to use for demonstration purposes. If you have an image which you think is “almost there” but just needs that extra something please send the file as an attachment to Ann by Sunday 25th at the latest.
Following the meeting of the group on Tuesday 22nd, the tutorial notes are now available. Go to Documents and follow the link.