This week, Joy Celine Asto kicked things off with a checklist on how to get started with film photography. Then, Bryan Esler sat down with Adobe’s Stephen Neilson to discuss the latest Photoshop release.
Sara Kempner gave us her first look at the Xpozer print system — and showed us how to put it together. Bob Coates told us how to work the scene with tighter compositions, and finally, Julie Powell reviewed the versatile Tamron 70-300mm lens for Sony cameras.
With Photoshop 2021, Adobe fully embraces the future of photo editing - Without a doubt, the biggest update to Adobe’s Creative Cloud platform last week was for Photoshop. Featuring brand-new features like Sky Replacement and Neural Filters, the 30-year-old program is looking ahead to the future by embracing artificial intelligence technologies. While Sky Replacement and Neural Filters were by far the biggest show stoppers, there were several other updates to Photoshop 2021. Things like Intelligent Refine Edge — which let artists get a better selection for hair and objects — as well as a new Discover panel, refined plugin experience and updates to Live Shapes. For anyone waiting on when Adobe would take that next step for the flagship program, they clearly have with Photoshop 2021. With the excitement swirling around the latest update, I sat down with Stephen Nielson, the Director of Product Management for Photoshop. We discussed what these new features mean and what photographers can expect from artificial intelligence in general. Lifting up the sky While Photoshop’s Sky Replacement tool isn’t the first sky replacement tool to market, it certainly holds its own. Featuring a library of skies that’s organized by thumbnail, Photoshop makes it easy for artists to switch out a sky in their photographs. “I think a couple things are really unique about the solution that we’ve shipped. The detection of the sky and the creation of the mask … I’m quite pleased with the results that we’ve been able to create in Photoshop,” said Nielson. “We held the feature for quite a while to really make it great. The workflow that we’ve created is completely nondestructive. So even if there is a slight mistake in the algorithm, we output all of the masks and the color foreground adjustments as an adjustment layer. Everything is completely nondestructive and re-editable, at a fine grained level. “Our expert Photoshop users have been using Sky Replacement, and then doing really creative and powerful things with them. Duplicating the sky or copying the mask of the sky and doing some additional blend modes or whatever it might be. It’s been very interesting to see how people have been able to build on the very extensible solution that we have with Sky Replacement.” “I really love that we built something that is easy. Anybody can do it. But it’s also extremely powerful. You’re in Photoshop, so you can get any result you want. Because we’re working with layers and masks and all those transformation controls, we can get a result that no automated solution can get.” Neural Filters make complex edits easy to achieve The most exciting feature for me personally was the development of Neural Filters. The possibilities here are endless — Nielson said they’re already working on opening up Neural Filters to third party developers. Whether you’re tweaking a portrait or bringing color to a black and white photograph, the technology with Neural Filters is quite impressive, and it’s clear that it will be a big part of Photoshop’s future. “Neural Filters is kind of a fascinating back story. We have a very vibrant Adobe research community, where we have some of the world’s best computer vision scientists in the world that work at Adobe. We work closely with that team to take technology and turn it into features in Photoshop,” said Nielson. “The unique thing about Neural Filters is that it’s a platform that has a very clever model that’s just operating as a filter. It allows us very quickly to take research technology and bring it into a feature in Photoshop, way faster than we have been able to do in the past. All of the filters that we’re shipping with are things that we’ve known about and have been researching for years. But where it would take maybe two years to be perfected and made as a feature in Photoshop, we can in a much shorter period of time, bring it in as a Neural Filter. “Now that we’ve built this platform, we’re going to be able to expand it even more with totally new filters that are based on other research that is happening inside the company.” The initial filters were chosen based on in-app feedback from beta testers. And after seeing that feedback, the Adobe team decided to keep the feedback option in the public release, so that any Photoshop user can submit their thoughts on the filter. “What I’m really excited about with this feedback mechanism, is that there’s an option to add more details, and to include your image in your feedback. And that’s the key to massively improve machine learning models is having a lot of diverse images.” But how exactly do Neural Filters work? Being able to bring a smile to someone’s face, adjust the tilt of their head and more … there’s a lot of work behind that. “When we operate on something like smiles, expressions, eyes or even skin, most of the machine learning models work at a very low resolution, usually 1024×1024 [pixels]. Obviously that doesn’t work well to scale up to a high resolution image. So there’s a tremendous amount of work that we’ve had to do to take the low resolution output from the machine learning model that will generate a smile or change the direction of somebody’s head, and figure out how to generate high resolution data on top of that,” said Nielson. “What has enabled it is all of the foundational capabilities of Photoshop. We’ve done an amazing amount of segmentation, blending work and using capabilities of Photoshop. So it’s not just a machine learning model. It’s a machine learning model that outputs something at low resolution, and then we do all sorts of transformations on it using technology that has existed in Photoshop previously. That’s why you can use Neural Filters on a 35-megapixel image. That’s extremely unique. I’m especially proud of the team for being able to do that.” What AI means for photographers Despite Adobe’s strong investment into artificial intelligence and machine learning across its Creative Cloud applications, Nielson sees
Testing out the Xpozer picture printing and hanging system - Recently I set up an image exhibit of some of my landscape photography at a local coffee shop. I piled nine large boxes with my canvases into my car and spent over an hour unloading, unpacking and hanging them in the cafe. While the end result was sufficient, the process was rather tedious and I felt like there had to be a better, more efficient system for displaying my work in public spaces. Enter Xpozer. Making your life easier Xpozer is a company that aims to streamline the process of printing and hanging your images. After a quick online order at xpozer.com, you will receive your print and the pre-installed hanging system shipped to you in a compact box. Easy-to-follow instructions are printed right on the box for your convenience. I personally had a great customer experience from the onset when I ordered my print. Right after ordering they sent me an email confirming the purchase and sent me a tracking number for shipping, as well as a separate invoice for my records. A couple of days later an employee wrote me to say that my order would be arriving shortly and to contact her directly with any questions. I was impressed with how fast the order arrived to me in Canada after it was shipped from the U.S. The print itself also impressed me when I pulled it out of its protective wrapping. I purposely chose a very bright image to be printed as I wanted to ensure the colors were printed true to the file I sent them, which they were. The prints have UV-resistant and non-glare coatings which keep them protected and looking great from any angle. Time to test it out It literally took me about a minute to set my Xpozer print up the first time. The print arrives with pre-installed corner pieces on the back, which make sliding the lightweight aluminum frame pieces into place super easy. I was equally impressed with how perfectly stretched and taut the print was after using their tension-spring technology to secure the frame onto the print. Orders also arrive with a mounting bracket for your wall, so that you have everything you need to have your print up within minutes of receiving it. Game changer I held onto my Xpozer box after hanging my print, as you can use it for storage if at any time in the future you want to replace your current print with a new one. The beauty of this system is that you can use the same frame but switch out your prints as desired. Alternatively, I know I’ll be able to quickly pack up my print if I need to hang it somewhere else, or sell the whole package to a client and be able to easily deliver it, secured and safe from any potential damage. Below is a quick video I made when I received my print so that you can see for yourself just how easy it is to set up the Xpozer system.
Work the scene better: Tighter compositions make better photographs - Have you ever come upon a scene thinking, “I know there’s something here.” And then walked away empty-handed? I know I have. However, it seems to happen less often when I try many different compositions. If there is a view that captures your attention, for whatever reason, it’s worth spending some time exploring with your camera. I often find paring down and isolating one element usually works wonders. Set the scene Heading out to the creek I was looking for some new images while testing some camera gear. This section of Oak Creek in Sedona grabbed my attention. The scene was nice but an overview didn’t show a subject and there was no one place to look in the photo. Crop into the scene Here is where working with a good zoom lens comes in handy. My tripod was set up on the bank without much room to move. Changing the zoom allowed me to explore various compositions without having to change my position. I made a lot of different captures. This is one where I began to see the final photo. Processing A bit of retouching and enhancing were all that was needed. The file was processed in Adobe Camera RAW. A separate layer was made for retouching. I find a second layer allows for a quick reference as to what has been accomplished by turning the layer on and off. An additional layer was made to add enhancement using Luminar 4. A little sharpening, some Mystical and Glow were used. Finally, I added a sharpening layer and used a black layer mask to cover it and paint with white, to selectively sharpen areas where I want some extra attention. This layer was created by an action I got from Aaron Nace of Phlearn. Aaron’s tutorials are a great value. He includes his actions as downloads as part of his service. I like his Phlearn Photoshop education so much I subscribed; I also am an affiliate. Zoom in I almost missed this composition because these leaves were very close to my shooting position. As a matter of fact I was working hard to shoot around this little branch that ultimately became the hero in the final frame. Gear A lens I often find on my OM-D E-M1 Mark III is the M.Zukio 12-100mm f/4 PRO. It has a similar field of view to a 35mm full frame 24-200mm lens. Pretty good at the wide end and a solidly long reach. The Fotopro Eagle E6L is my landscape and nature tripod of choice. The E6L is light and the quick level head makes it easily adjustable to level the camera without having to adjust the legs. Yours in Creative Photography, Bob
Tamron 70-300mm for Sony proves to be a nature photography gem - Being a fan of Tamron, I jumped at the chance to review the soon-to-be released Tamron 70-300mm f/4.5-6.3 for my Sony. The lens is the smallest, most compact and lightweight telephoto lens currently on the market. It’s only marginally longer than my Tamron 28-75mm f/2.8 workhorse and is actually a fraction lighter — a must as far as I was concerned. I aim to keep all my gear as compact and lightweight as possible. I am NOT generally a telephoto shooter, so it did take a bit to adjust. My biggest issue was the minimum distance and shutter speed, which should be at least equal to the focal length (for example, 300mm at 1/300s). Sony’s Eye AF is supported, as well as other Sony features. The 70-300mm claims to be a versatile lens for sport, action, wildlife, pets, landscapes and even portraits. I must confess using the 300mm for nature photography was a BIG plus for me … I recently went for a walk at the aptly named Frog Hollows. Sadly we saw no frogs this day, but I could certainly hear them! However, there were lots of birds; that’s what I was here for the most. Great for nature photography While this lens is great for nature photography, the autofocus is not quite as fast as I would have liked. However, it’s super quiet — a positive when it comes to nature photography. It also works well with the Sony AF-C mode. The zoom turned out to be a brilliant addition for photographing birds, as I couldn’t get very close. I must admit I am not much of a bird photographer normally (especially while they’re in flight), but standing relatively still, it was fabulous to capture up-close details otherwise unavailable in my standard 75mm lens. I wish I could have captured more wildlife, but I’m still stuck with a 15-mile (25km) radius lockdown from home due to COVID-19. The images are just wonderful … strong and detailed. Portraits & sports While technically NOT a portrait lens it actually handled some casual shots quite well. But I bet on location the bokeh would be fabulous. Due to COVID-19, I can really only use my dog as a model (who is quite quick), but I must admit I adored the almost Lensbaby-like swirly bokeh I achieved on some of the shots, while still keeping him in perfect focus. When some distance is placed behind the subject the bokeh softens off considerably and becomes as smooth as silk. Likewise, the only sport I was allowed to capture is some local men fishing, a passing jogger and some not-so-fast horses, but handled it all beautifully. I also used the burst mode on some active birds and the AF-C seemed to perform quite well. OK, so not so really a still life & macro lens OK, so the 70-300mm is not really a still life or macro lens … but then again, it’s NOT a macro lens — far from it. I did find that for some still life I had to stand too far away, but that’s not the real point of this lens. All that said, it was wonderful for capturing flowers and blossoms that were too far away for my conventional lens. I didn’t do so well with the bees, but possibly that’s just me! I found it difficult to focus on them as they kept jumping out of frame at 300mm and the autofocus struggled to pick them up. Being a newbie with the telephoto range, I loved the close-ups this lens gave me with smaller birds and flowers. It provided such a pretty bokeh. I was really quite impressed with the lens compression and forced focus on macro-style shots. Handles landscapes well, too At 70mm, the lens handles landscapes pretty well, presenting a fairly good mid-range shot. Far from a wide-angle, it actually picks up from where my other lens finishes off. I get a lovely bokeh and good dynamic range on a basic landscape. This lens has special elements to correct for most chromatic aberration (which can quite strong in some telephoto lenses apparently), but I did find that there was still a little magenta-green fringing in high contrast areas, but it was easy to correct in post. Specs Focal length: 70-300mm Aperture range: f/4.5-6.3 to f/22-32 Aperture blades: 7 circular Minimum object distance: 31.5 inches (wide) to 59.1 inches (tele) Filter size: 67mm Length: 5.8 inches Weight: 545 grams (19.2 oz) Mount: E-mount; designed for full-frame. Will also work with APS-C. Works with Sony AF, Eye AF and DMF Lightweight and compact, the Tamron 70-300mm f/4.5-6.3 is the smallest, most compact lens of its kind on the market. It features moisture resistance and has fluorine coating for protection against weather and fingerprints. The manual focus ring is smooth in its transition and zoom ring is ridged for grip (without being too much). Finally, it includes a lens hood and lens cap. So if you are looking for a great telephoto lens for nature photography I can recommend the Tamron 70-300mm f/4.5-6.3 enough! It has a great range and offers a truly beautiful bokeh. It’s a quiet lens that’s a good performer without breaking the bank. It’s perfect for an early morning (or late afternoon) in the wetlands and nature shots and some basic landscapes too. If you are after a telephoto with a good range that doesn’t break the bank, this is a great lens to have in your kit. I’m seriously thinking of adding it to mine, too.
How to get started with film photography: A checklist for beginners - In my recent years of shooting film for my personal projects, people are asking me more about the “how” than the “why.” This is really interesting and exciting for me since a good number of these curious people have never even touched a film camera or a roll of film before. Sounds like you or someone you know who is curious about film photography? Allow me to help you get started with some suggestions on the first five items that should be on your checklist. Before I begin, let me also note that these suggestions are meant to help with two important things: 1. Finding out if film photography is something you really want to do despite the limitations and; and 2. Get the right cameras and films to get you started. I believe that once you have these five items ticked off on your checklist, you’ll be able to have a more smooth-sailing film photography journey. Now, on to the quick list! Decide on the type of film camera you want to get I see a lot of young photographers who, upon seeing an Instagram a photo taken on film, ask about the camera used to shoot it and buy it on eBay straight away. Then, only when they begin figuring out how to shoot with it do they find out that it’s not the right camera or film format for them. This scenario can be easily avoided by doing thorough research about any camera that catches your interest. Write down details like: Do you want to start with a point-and-shoot camera first so don’t need to worry much about camera settings? Are you comfortable with the learning curve of a full-manual, vintage SLR camera? Does a rangefinder camera sound more interesting to you as a street photographer? Is medium format interesting to you but the cameras are too big and bulky to your liking? Then, you can work out the more technical details and features next. These include format (choose between 35mm and medium format, for starters), Aperture Priority mode, automatic film rewind, double exposure mode, metering and lens mount. Also, it might help you narrow down your choices if you examine these features against the kind of photography you want to do. Where do you get a film camera in good working condition? This is definitely one of the most important things to address. Depending on your location, you may have some luck if you check out your local thrift store or secondhand camera shops. If you do decide to visit a physical store, remember to bring some AA, CR2 and CR123A batteries with you in case they don’t have them there for testing. You also have the option to check out eBay and other online listings for vintage cameras for sale. Your local film photography community — online or otherwise — can also help you with camera recommendations and score some deals. I can’t stress this enough: Ask around for advice on how to check if a camera you want to buy is working properly. This will save you the hassle of refunds, returns and possibly even repairs. Again, online film photography groups will be of great help with this. Decide which film stocks to get started with Once you’ve decided on the film format and which camera to get, it’s time to grab some films. I suggest starting with the cheapest and most accessible color negative and black and white films to you. You’re just starting out, and I guarantee that you’ll have a lot of misses, especially if you’re brave enough to shoot with a full manual SLR camera. You might also want to run a test roll in your new camera before shooting an important project or event. Premium films like Kodak Portra 400 or Ektar 100 or professional slide films like Kodak Ektachrome E100 just won’t be cost-effective choices at this point. That said, you may have some cheap Agfa, Kodak and Fujifilm color negative films available to you. They come in ISO 100-400 variants, so you’ll have to decide which ones to get depending on what and where you plan to shoot. I suggest getting a good mix of low and high ISO films so you have the option to shoot both indoors and outdoors. Also, check out online listings for expired films. They’re cheap and typically still work great, especially if they’re just 5-10 years expired. You might also want to experiment with even older films if you’re after the grainy, nostalgic look that’s all the rage in the last decade or so. But, manage your expectations! Is there a film lab near you? I find this to be a deal breaker for many people who want to try getting into film photography. Of course, after shooting your first few rolls, you have to take them — or send them out — to a film lab that will process and scan your films. Sure, you can also do these yourself, but realistically, not when you’re just starting out. If you have a local film lab, there’s a great chance that you’ll keep shooting because it’s easy and convenient to get your films sorted out. However, if there are no film labs in your area, you’ll have to send your films out somewhere else. This is where the deal breaker I was talking about comes in. Depending on your location and where you’re sending your films, this may be more expensive than you’re willing to pay as a beginner. Again, do some research and ask around for recommendations that will best fit your budget. Join a film photography community Given that much of the world turns to online communities for advice, inspiration and information, I think you’ll be inclined to join one or two, to start with. It will help you greatly with your research and the occasional troubleshooting. It can also be a great opportunity to share your progress once you’re more comfortable with your shots. Facebook and Flickr
