Creative Perspectives with Pro Denise Ippolito
(Topaz Labs Guest Blog Post)
As I was walking through Washington’s Crossing State Park in Pennsylvania late last fall I noticed a leaf stuck to the trunk of a large tree. I guess the wind and rain from early that morning had left it there. The leaf instantly caught my eye and many different ideas started to flood my mind.
Art Morris had loaned me his Canon 15mm fisheye lens. I like the unique perspective that the fisheye offers. A cloudy day is best when shooting with this lens; if you photograph with it on sunny days your shadow will likely be in the image. I was in the zone as I walked slowly around the tree while checking out every option. Trees have always been of interest to me. I was anxious to capture a dramatic look so I got very low to the ground and very close to the base of the tree so as to include some of the top branches.
To process my image I took it into Photoshop and duplicated the layer. Then I converted the top layer to black and white. Next I applied the Topaz Simplify BuzSim filter to the top layer to give the leaves a bit of character. Then I added a layer mask to the top layer and masked back in the original color of the lone leaf and increased the saturation of that lone leaf. By choosing to leave color in one of the key elements of an otherwise black and white image you accent it and draw attention to it. The leaf would not have been the key element if I hadn’t chosen to bring the color back in.
Want to recreate this look? Here’s a couple of tips to help:
• Use a level.
• Avoid photographing when it is sunny so your shadow is not in the image. Try to avoid mixed lighting also. I created this image on an overcast day between rain showers.
• Get extremely close to your subject so that you have a unique perspective. For this image I was at the base of the tree looking up.
• Consider the subject shape and the orientation in which you will capture your subject. I chose a vertical composition for my tree.
• Look for a key element that you can use as a focal point. For my image it was the lone leaf.
• Follow the flow of your subject when composing your image. For my tree image I saw the slight curve in the trunk and worked with it to create a dramatic composition.
• The minimum focusing distance with the fisheye lens is 8”.
Tip: When adding the Simplify BuzSim Filter I keep my controls set to the default settings. Since I start with a duplicate copy before running the software I can easily make adjustments to the opacity of the layer and I can also add a layer mask to make further adjustments selectively throughout the image.
Make final adjustments to the shadows and highlights after the filter is applied and tweaked. I also add a round of Unsharp Mask in Photoshop to the image as a finishing touch for web presentation.
Final Thoughts
Whenever I photograph trees, I consider how they will look with the Simplify BuzSim Filter applied to them. I like the stained glass effect that the filter adds to many of the branches and leaves. Consider using B&W images with hints of color for added drama. Experiment with color and/or lack of color when creating your next image.
(Topaz Labs Guest Blog Post)
As I was walking through Washington’s Crossing State Park in Pennsylvania late last fall I noticed a leaf stuck to the trunk of a large tree. I guess the wind and rain from early that morning had left it there. The leaf instantly caught my eye and many different ideas started to flood my mind.
Art Morris had loaned me his Canon 15mm fisheye lens. I like the unique perspective that the fisheye offers. A cloudy day is best when shooting with this lens; if you photograph with it on sunny days your shadow will likely be in the image. I was in the zone as I walked slowly around the tree while checking out every option. Trees have always been of interest to me. I was anxious to capture a dramatic look so I got very low to the ground and very close to the base of the tree so as to include some of the top branches.
To process my image I took it into Photoshop and duplicated the layer. Then I converted the top layer to black and white. Next I applied the Topaz Simplify BuzSim filter to the top layer to give the leaves a bit of character. Then I added a layer mask to the top layer and masked back in the original color of the lone leaf and increased the saturation of that lone leaf. By choosing to leave color in one of the key elements of an otherwise black and white image you accent it and draw attention to it. The leaf would not have been the key element if I hadn’t chosen to bring the color back in.
Want to recreate this look? Here’s a couple of tips to help:
• Use a level.
• Avoid photographing when it is sunny so your shadow is not in the image. Try to avoid mixed lighting also. I created this image on an overcast day between rain showers.
• Get extremely close to your subject so that you have a unique perspective. For this image I was at the base of the tree looking up.
• Consider the subject shape and the orientation in which you will capture your subject. I chose a vertical composition for my tree.
• Look for a key element that you can use as a focal point. For my image it was the lone leaf.
• Follow the flow of your subject when composing your image. For my tree image I saw the slight curve in the trunk and worked with it to create a dramatic composition.
• The minimum focusing distance with the fisheye lens is 8”.
Tip: When adding the Simplify BuzSim Filter I keep my controls set to the default settings. Since I start with a duplicate copy before running the software I can easily make adjustments to the opacity of the layer and I can also add a layer mask to make further adjustments selectively throughout the image.
Make final adjustments to the shadows and highlights after the filter is applied and tweaked. I also add a round of Unsharp Mask in Photoshop to the image as a finishing touch for web presentation.
Final Thoughts
Whenever I photograph trees, I consider how they will look with the Simplify BuzSim Filter applied to them. I like the stained glass effect that the filter adds to many of the branches and leaves. Consider using B&W images with hints of color for added drama. Experiment with color and/or lack of color when creating your next image.
I used to take my camera bodies to Canon for sensor cleanings. At one time, the service was free. Now it is not so I waited until I went out photographing with Arthur Morris again and asked if he would clean them (again). He did with detailed instructions so I paid close attention. He does this regularly for the participants on his IPTs (Instructional Photo Tours). Artie had given me a Sensor Scope for Christmas; it allows you to see an illuminated/magnified view of the sensor and the specks of dust. I already had a Lens Pen Combo Kit and a Rocket Blower so I decided to give sensor cleaning a try. After being a huge chicken Artie walked me through it step by step. It is quite easy and worth the short time to learn how to do it properly.
I'd recommend that you purchase the Sensor Cleaning Bundle w/Scope . Here is a link to the Sensor Cleaning Product page at the BIRDS AS ART On-Line Store. When you purchase a Lens Pen Combo Kit from BAA they will send you a Lens Pen Instruction; it includes detailed step by step instructions that even I can understand :). Read it carefully and follow the instructions and you will learn to clean your camera's sensor quickly, efficiently, and safely. It is a simple technique that will save you a bundle over time. It is safe and you do not need to wet any part of your sensor with any liquid anything :)
I give this Sensor Cleaning Method 2 thumbs up!!!
To start you need a fully charged battery. If the battery dies while you are accessing the sensor the shutter and/or the mirror could be damaged. You should work in a clean, well lit area with the heat or AC shut off. Since the sensor will be you need to stop talking to prevent spittle from getting on it.
Remove the cap that covers the sensor. Angle the camera body downward. Using the Rocket Blower squeeze the blower forcefully to remove dust from the viewfinder box before raising the mirror to expose the sensor.
To raise the mirror you will need to follow the Sensor Cleaning instructions in your camera body manual. Once you hear the mirror lock up, you are ready to clean the sensor. Then follow Artie's detailed instructions that come with the purchase of your Lens Pen Combo Kit (only from BAA).
I'd recommend that you purchase the Sensor Cleaning Bundle w/Scope . Here is a link to the Sensor Cleaning Product page at the BIRDS AS ART On-Line Store. When you purchase a Lens Pen Combo Kit from BAA they will send you a Lens Pen Instruction; it includes detailed step by step instructions that even I can understand :). Read it carefully and follow the instructions and you will learn to clean your camera's sensor quickly, efficiently, and safely. It is a simple technique that will save you a bundle over time. It is safe and you do not need to wet any part of your sensor with any liquid anything :)
I give this Sensor Cleaning Method 2 thumbs up!!!
To start you need a fully charged battery. If the battery dies while you are accessing the sensor the shutter and/or the mirror could be damaged. You should work in a clean, well lit area with the heat or AC shut off. Since the sensor will be you need to stop talking to prevent spittle from getting on it.
Remove the cap that covers the sensor. Angle the camera body downward. Using the Rocket Blower squeeze the blower forcefully to remove dust from the viewfinder box before raising the mirror to expose the sensor.
To raise the mirror you will need to follow the Sensor Cleaning instructions in your camera body manual. Once you hear the mirror lock up, you are ready to clean the sensor. Then follow Artie's detailed instructions that come with the purchase of your Lens Pen Combo Kit (only from BAA).
Daisy ~ Longwood Gardens Spring Workshop
To create a multiple exposure look in Photoshop:
I start off by bringing my single image into Photoshop and so that I don't have to repeat these steps again and again I go ahead and set up an action (easy step-by-step instructions for those folks that don't know how to set up an action). I then create 9 duplicate layers. Then I reduce the opacity of the top layer to 10% then with (Ctrl T) for the Transform Tool I turn the top layer slightly (please note you don't have to turn all of the layers as I did here you may wish to move some or all side-to-side or up and down or a combo of both. It is important that all the layer movements be small, be creative with your movements and set up a variety of actions that yield different looks, consider this just a basic how-to). I continue changing the opacity of each of the other layers ( example -layer 9 opacity set to 10%, layer 8 opacity set to 20%, layer 7 opacity set to 30% ...) and turning each one slightly in the same direction until I have done them all. Once you have created your action give it a try and make sure it's the look you want. Now you're ready to quickly create a multiple exposure look anytime you want from a single image capture. You will need to trim the edges of your finished image so start with an uncropped version or loose crop. I used a layer mask on each of the layers to reveal a bit of detail randomly throughout the image and in the center. I finished off the look with a texture overlay to jazz it up a bit.:)
______________________________________________________________ denise ippolito
Alstroemeria ~ F/22-yes even I use F/22 :)
I wanted to create a high-key look for my Alstroemeria flower image so I shot it up against the sky slightly overexposing the background but being careful to retain detail in the flower. I used f/22 so that I would have most of the flower in focus. For the second image (see below) which I used as a texture overlay I started with an in-camera blur, shot at 2.5 sec. at f/13 hand held while jiggling my camera ever so slightly. A technique that I cover in "A Guide to Pleasing Blurs" that I co-authored with Art Morris. To make the blur more of a textured look I used Snap Art 3 Impasto. So for the final image I blended the first two images together using the Multiply Blend Mode in Photoshop. With a layer mask I revealed some of the detail from the original capture. I know this has a real girly look but hey I am a girl :)
This technique and more in my eBook " Bloomin Ideas" .
______________________________________________________________ denise ippolito
Alstroemeria ~ In -camera blur
Alstroemeria Blended with the in-camera blur image above
This is an ornament that I made using some of the images that I took while at Longwood Gardens last Christmas. This is a previous post but I thought since I had so many new subscribers that some of you may have missed it and with the holidays coming up you may want to try to create one to use as a holiday card. I used a video tutorial that was provided to me by Patti Edens-thanks Patti! I have included the link for the video if you would like to create your own ornament.
I loved the delicate look of this white rose and decided before capture that I would create a soft, dreamy look. I started with my Canon EF 100mm f/2.8 USM Macro Lens and two stacked extension tubes. I used an ISO of 200, and an F/13. My shutter speed was 1.6 sec. so I used my tripod (even I use a tripod sometimes). This is pretty much full frame with just a little off for composition. I wasn't concerned about blurring out the background since there was only a sliver in the LRC from my wooden bench that I was shooting on. This was side lit so I used my Promaster SystemPRO ReflectaDisc 5 in 1 Plus - 32" Gold Reflector supplied to me by Gary Farber at Hunts Photo and Video. I chose the gold disc as I often do because I like the warmth that it adds to the image. In post processing I used the Nik Color Efex Vignette Blur Filter (save 15% on Nik Software by using the code BAA)to add the soft blur around the outside of the image. I made some final tweaks in Photoshop with curves. This image represents the vision I had for this rose the minute I saw it.
______________________________________________________________ denise ippolito
Topaz Adjust 5 ~ Classic Collection ~ High Key then I also used the Vibrant Collection ~ French Countryside I like the wintry look that the filters helped me create for the image. See my original capture below.
I just received my download link for the beta version of Topaz Adjust 5. WOW! This is the first image I ran through the program using the presets found in the various Collections. These were done only with Topaz Adjust 5 and some finishing tweaks in Photoshop which included adding some blur and changing the blend modes and a regular round of noise reduction. I was very impressed that the program really didn't add much extra noise to the images.
FROM TOPAZ:
While Adjust 5 is available now (to reviewers and affiliates only) the official release is tentatively scheduled for Tuesday, November 15, 2011. At this time it is planned to be a free upgrade to existing users. There will also be a special discounted price for those that are new to Topaz and want to purchase it or for those who already are Topaz users and want to upgrade to the bundle or any bundle upgrade.
SOME OF THE FEATURES:
New Presets. Over 100 presets available in the new Adjust 5.
Auto-create layer. Automatically creates a new layer where your adjustments will be saved to.
Apply button. Stack multiple effects and presets during the same workflow.
My Collection. Users can now save their presets under My Collection.
Preset Collections. Presets are organized into 5 unique collections.
Local Adjustments. Intuitive selective adjustment brush for burning, dodging, smoothing, and brushing out (erasing) added adjustments - plus edge-aware options.
Histogram built into the Preview Navigator window + Curve tool. Shows the tonal range of your image. Easily adjust image tonality to help emphasize tones, contrast and brightness.
Finishing Touches Tab. Features options for diffusion, grain, borders, vignettes, tone adjustments and overall transparency adjustment.
Selective Brush. For easy dodging, burning smoothing and removing adjustments.
Ordered interface workflow. The interface is set up in numbered stages for a quick and easy workflow.
Individual tab reset buttons. Quickly reset the parameters in a specific adjustment tab without affecting your other settings.
Split Screen. Use the 2-screen split view for easy before and after comparison.
___________________________________________denise ippolito
This is the "BEFORE" Topaz Adjust 5
To create the image above I started with an image of a rose, then I added a couple of free texture overlays from Shadowhouse Creations. I then used the type tool to create the text on it's own layer. I lowered the opacity of the text layer until the text appeared lighter and more transparent. For the version below I desaturated the image to create a softer look.
The meaning most often attributed to this saying is that when it is all said and done it is what it is. The actual line from the poem by Gertrude Stein titled Sacred Emily is
Rose is a rose is a rose is a rose
Loveliness extreme.
Extra gaiters,
Loveliness extreme.
Sweetest ice-cream.
Pages ages page ages page ages.
________________________________ tutorial by denise ippolito
Homer Alaska ~ Glaucous-winged Gull
This blur was captured while on a small boat in Alaska, I hand held my Canon 100-400mm lens. My shutter speed was 1/20 sec. It was snowing so I tried to wait for the gull to be against the dark mountainous background. I added some Unsharp Mask to help the snow look more squiggly. To learn more about creating pleasing blurs check out
"A Guide to Pleasing Blurs" that I co-wrote with Arthur Morris.
______________________________________________________________ denise ippolito
Homer Alaska ~ Glaucous-winged Gull
I photographed this orange lily trying to come up with an in-camera abstract using my extension tubes and my Canon 100mm lens. I tried several different angles and compositions, nothing seemed to grab me. After I downloaded my card this one lily image had some interesting lines that caught my eye. I decided to use the Liquify Filter in Photoshop to help exaggerate those lines. Next I used Flaming Pear's Twist Filter to add some more lines and twists. Unsharp mask and a curve adjustment to finish it off. To learn more about some of my filtering techniques check out my eBook
"A Guide to Creative Filters and Effects"
________________________________denise ippolito
Allaire State Park, NJ
I went for a walk through Allaire State Park yesterday afternoon. When I left my house it was overcast with thick clouds but by the time I got to the park it was bright and sunny. Go figure??!! I decided to make the best of my walk and photographs. I saw this park bench and decided to create a rainy afternoon look. With a layer mask I revealed the plaque. I used http://www.topazlabs.com/bweffects/">Topaz B&W Effects to convert this image and to create the mood. I applied a soft blur vignette in http://www.niksoftware.com/index/usa/entry.php">Nik Color Efex and added some "fake rain". I wanted the rain to be subtle but still visible.
______________________________________________________________ denise ippolito
1/600 sec. at f/5.6, ISO 2000
Image © 2011/Denise Ippolito Photography
I have recently received several emails regarding high ISO and noise :). One thing that I like to do in low light situations when I have to crank my ISO up is to make sure that I expose as far to the right as I can. I am shooting with the Canon 1D Mark III and each camera body will be a little different. My keeper rate in low light situations when using higher ISO has gone up considerably since I have been trying to "slightly" over expose my images especially when there are some dark tones in the image. Fill flash would be good to use in this situation too. If you click on the image to see the larger version you can see that there is a slight amount of noise visible but I have not used (and never do) any special noise software other than what is found in Photoshop. I processed this image with CS3. I have CS3, CS4 and CS5 and have never felt the need for additional noise reduction software. On occasion I will give a double round of noise reduction or use my surface blur technique; Setting the Radius at 3 and the Threshold at 6. I may adjust those values when needed and I apply it selectively only to the background as I do with my regular noise reduction. Anyway I like the high-key look and I hope that this may help a few folks with some of their noise issues.
______________________________________________________________ denise ippolito
Image © 2011/Denise Ippolito Photography
I recently conducted a creative workshop for a group of folks in Connecticut. Some of them belonged to a camera club that would not allow the use of outside texture overlay images for competitions. That makes sense in a way since it needs to be "completely your own" and you are not able to credit the texture to anyone during a competition. I decided to figure out a way to create a texture from my original image. I turned to Dynamic Auto Painter aka DAP (see info below). The program created a completely textured/painted look depending on how long you let it run (you'll need to download the free trial to see what I mean here) to my base image. I then blended my base image and my new "painted" image together using the same methods that I would for one of my regular textured images.
Dynamic Auto Painter aka DAP ($49.95), it is a stand-alone program that can be used to render your traditional photographs as realistic paintings by mimicking the brush stroke styles of some of the old masters. The interface is easy to use and the results can be amazing. You can download a free trial copy or purchase the program here. Once you have the program on your computer you can enhance your experience by visiting DAP Café. To run DAP on a MAC
___________________________denise ippolito
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