Global leisure and travel company TUI is the sponsorship partner for Married at First Sight UK series four, which returns to UK screens later this summer.
The strategic partnership provides the leading package holiday provider a unique opportunity to connect with a committed and engaged Married at First Sight UK audience.
TUI will be featured on the hit reality show on E4 and Channel 4 streaming, and across E4 and the show’s own social channels, as well as MAFS UK content on Channel 4’s YouTube.
We’re always on the lookout for straightforward post-processing tricks that will give images a unique look and make them stand out from the crowd, and this tutorial from Instructor Julieanne Kost does exactly that in less than five minutes.
Kost is an acclaimed expert at all things Adobe and a very accomplished educator, so when she speaks we tend to listen carefully (and so should you). In this episode she demonstrates how easy it is to add vignettes and grain effects to give a big boost to just about any photo you capture.
Simply put, a vignette adds impact to a photo and directs the viewer’s eyes by darkening the periphery of an image—either as a shadow, subtle blur, or sometimes both. This can happen by mistake due to incorrect camera settings or the wrong gear, but this lesson is all about using vignettes with intention.
You’ll learn two ways to create a vignette, with the first using the Vignette slider that’s found within Lightroom’s Lens Correction panel. Interestingly this technique was originally designed for removing vignetting caused by lens distortion. But as Kost reveals, this simple slider can also be used to add or increase the amount of vignetting in any image. As she says, “it does a great job of simulating an in-camera vignette effect.”
The second method involves using the Effects panel and the primary benefit of doing so is this: the vignette settings are applied to an image after cropping, and they’ll be updated if the cropping is altered. Kost demonstrates how to use three post-crop styles: Highlight Priority, Color Priority, and Paint Overly. She describes which method works best depending on the specific photo at hand.
As you’ll see, once you create the vignette of your choice there are a variety of Lightroom tools and masking adjustments that enable you to easily refine the effect. Next Kost returns to Lightroom’s Effects panel and turns her attention to adding a bit of grain, whether you’re working with a color shot or one that’s rendered in monochrome. This is a simple method for making an image appear as though it was captured on film.
Kost begins by zooming in on the image to make it easier to view the effects of the Grain sliders more accurately. Then she uses the Amount slider to control how much grain is introduced, the Size slider to determine how small or large the grain appears, and the Roughness slider to control whether the grain looks sharp or “rougher and more blotchy.”
It’s also possible to add grain selectively with the use of one or more masks. Be sure to visit Kost’s instructional YouTube channel where you’ll find more quick solutions to any problems you encounter in Lightroom or Photoshop.
A common practice among nature and wildlife photographers is to shoot at maximum aperture to separate the primary subject from a soft out-of-focus background. This tutorial, however, explains when this can be a bad habit and actually spoil an otherwise great image.
Today’s tutorial comes from our friends at Pangolin Wildlife Photography, an enthusiastic community of African experts based in the wilds of Northern Botswana whose goal is to help others improve their skills when shooting in the field. This epiosde explains why pro Charl Stols stops down more often than not to use aperture settings more creatively for better wildlife imagery.
Stols admits that, “I always loved capturing wildlife wide open with fast lenses and shallow depth-of-field in which only the subject is sharp and clear.” Over the years, however, he learned that always taking this approach can be a mistake that will often hold you back depending on the specific scene at hand.
Here’s the promise Stols makes with regard to this enlightening nine-minute lesson: “I will highlight the challenges and limitations that come with using wide apertures and show you plenty of examples when I employed high ISO settings instead to get a perfect shot.
Stols begins with a quick overview of the advantages to the standard approach, but then he says this: “The aperture isn’t the only factor that influences depth of field. Others considerations include the focal length of your lens, and camera-to-subject distance—both of which have a great influence on how much is in focus within the frame..
So what situations call for using a narrow aperture and what benefits can you expect to achieve for more compelling photos? Stols provide an example of a bird whose eye is sharp but the rest of the body is too soft because of limited depth of field, and how using a narrower f/stop created a much more effective shot with superior detail (and the background is still acceptably soft with very nice bokeh).
Stopping down is even more important when you’re photographing multiple birds and animals interacting with one another each at different distances from the camera. The example here is an interesting shot of two hippos facing off in the foreground with a couple birds flying overhead a bit further back. In such situations, setting a lens to maximum aperture won’t get the job done.
Stols illustrates his points with a variety of other images, including the common task of capturing birds in flight. In such cases you’ll learn the best f/stop to use, along with focusing techniques that will deliver optimum results. He also discusses how lenses of different focal lengths factor into the equation.
Bottom line: This approach is very easy to master: All it takes is knowing when to modify aperture in the way that Stols recommends. The Pangolin Wildlife Photography YouTube channel is of full helpful tips and techniques like what you see here, so be sure to pay a visit.
