The aperture in a lens is photography’s analog to the irises in our eyes. Our irises enlarge to let in more light in dim circumstances. They contract to a smaller size reducing the amount of light in bright places. The aperture (also known as the f/stop) in a lens does
While at WPPI, I was amazed at the number of studio management platforms that were exhibiting. I’ve written two pieces about studio management platforms in the past year (part one and part two), and it seems like more keep popping up! For marketing purposes, studio management platforms are handy for
When the eyes are visible in a portrait, they should usually be the point of focus for the viewer–your viewer should snap right up to those eyes and linger there. Many things can distract from the eyes–hands, earrings, noserings (the worst!), necklaces, hairstyles–but you can use your photofinishing tools to
This new Twist 60 lens from Lensbaby has my full attention right now. There are always new lenses boasting extreme sharpness or wide apertures or super telephoto, but Lensbaby steps aside from the sharper-faster-longer race and makes tools that actually help me be more creative. In short, it’s a marvelous hunk
Editor’s Note: Don’t miss this week’s free event on when to jump from Lightroom to Photoshop. For some reason, people laugh at me when I make a picture with them. Don’t get me wrong, I’m not complaining: laughing makes a wonderful expression. My subjects crack a big smile, and usually
I’m a big fan of controlling where the viewer looks within a photo. In this short tutorial I show you how to use two adjustments in Photoshop to quickly guide the viewer’s eye. You can make similar adjutments in Lightroom. [vimeo http://www.vimeo.com/65380188 w=640&h=360] Master Vibrance and Iris Blur in Photoshop
