This isn’t a How To guide on photography, more of a how to get ready for the How To guides. In my line of work, I use photography a lot. Mostly production shots that I either took with a High-End Point and Shoot, or supplied to me by the client. Lately, I’ve moved onto other types of photography that a simple point-and-shoot, just can’t handle.
Doing what most of us would do, I read reviews, and tried out tutorials. However, I never really learned what the camera is and how to really use it. Until I met a man named Alan Kaplan, a seasoned photographer from around the area.
He taught me, it’s not really the camera that does the work. It’s you, it’s the lens and the subject you’re taking the picture of. The camera is just a tool, a tool you really need to understand and be familiar with, in order to get the best out of it.
People (Like me) seem to get distracted about the camera, brand, features, and never about what’s connected to the camera. You can buy a beautiful $3,000.00 Leica, the best of the best, but do you understand the interface easily enough? Are you willing to take that camera out everywhere you go? For thousands of dollars, taking this on a hiking trip, or a busy shop for an on site photography gig could be an issue. It could get smashed or stolen. While a cheaper (But still effective) Olympus Pen camera would do the same thing, without you being distracted by what could happen to it.
One of the most important things about a camera is the lens. Thanks in large part to a the standardization of Micro 4/3 lenses and adapters for DSLRs, it’s easy to fit any lens on almost any camera. The key here is to buy a lens that works for you. I would recommend at least three lenses; the Kit lens that comes with your camera, a Zoom lens, and a Prime lens. Each one does something different and gives you a myriad of options.
Go to a site like 500px, flickr or even google image search, and look for lenses. See a lens you’re interested in? Type the specific lens into Google image search and you’re bound to find multiple shots from that lens.
The last thing is, use the camera, use the lenses. Each week take only one lens. Use it until you understand what it can and can’t do. It’ll give you a better understanding on what type of picture you like, or what kind of lens calls for a certain capture. Find a photographer, someone that understands these cameras, someone that can teach you more than the sales person or a bullet point on the side of the box can.
Go to town using every feature on the camera. Take a picture of every meal you cook, every project you do, or just outside, but use the features of the camera. Only by trial and error will you learn how to use it. This is the greatest thing Alan has taught me, and hopefully this post will help you learn as well.
You can check out his site and work here: http://www.alankaplanphotography.com/
So by now you’ve heard Instagram has changed their policy on photos so they can use them for advertising. You won’t see any of the money they make on your photos, and they can use any picture uploaded to the site. This may not seem like a big thing for some, but keep this in mind, pictures of your children, your house, your car, any moment you have uploaded on instragram, is there for the taking.
If you’re a photographer and post your professional shots on the site, you’re giving away your work for free. You’ll never see a dime, you’ll never get the credit, you’ll never see any of the benefits. You have until January to either delete your account, or accept the no way to opt out terms of service changes. However, you do have another option.
A while ago, I made a post on how to add a watermark to your photos via Photoforge 2 (another iOS app), but here’s another quick tutorial on how to get your photos ready for Instagram (the square style crop) before you edit in Photoforge. This can be done easily and quickly via the iOS built-in photo editing tools. If you have a watermark, Instagram has 2 options.
1. Not use your photo because your logo is over it.
2. Use it, and you’ll be able to get the credit, at the very least.
I’m guessing they’ll go with #1.
1. When you select the photo, click on the Edit button.
2. Touch the crop icon & you’ll get the cropping overlay. Touch the Constrain button.
3. Touch the Square button
4. You can now enlarge, pan shrink your image inside the constraints
5. Hit save, and your image is now ready to add the watermark. (Tutorial here)
Keep in mind, you’ll have to delete all your photos and re-upload them. If this seems to much of an issue for you, please read the last sentence of the first paragraph again. Done? Good. Now do this and keep your work, your work.
I was on Instagram, when a friend had a picture taken and used on a tumblr blog. He wanted credit or a link back to the original site (Instagram), but couldn’t get a hold of the tumblr blogger.
This lead me on a trip to the app store to see what kind of watermarking apps were available. While I found some options, they all just did watermarking. I didn’t want to take a photo, edit it on another app, and bring it into another app again, to just add a watermark. That’s when I found PhotoForge2. It’s a great one-stop app that lets you take a photo, has powerful editing software, and lets you upload to different sites.
If you’re like me, you’ll have a logo, or an icon that you’ll want to use instead of just text, and PhotoForge2 works great for just that occasion. Below I created a tutorial on how to use the app as a watermarking tool, but please explore the rest of the apps great features.
PhotoForge2 for iOS Download
1. When you open up PhotoForge2 you’re welcomed to a blank page. Hit the + button to bring up your photo album.
2. Once you pick your photo, it will live on the once blank start screen.
3. Once you touch the photo, you’ll enter the work space. Touch the layer icon on the bottom to add the watermark.
4. Touch the “New Layer” button and tap the image with the photo to pull up your icon/logo.
5. Touch the layer button to turn on transparencies. This will help you place the icon over the image.
6. Pinch to zoom and move into place.
7. Hit the Check button and you’ll go back to the edit/layer screen. Tap on the logo/icon layer to bring up the transparency screen and tap that.
8. Use the slider on the bottom to lower the transparency.
9. Finally, hit the CHECK again and touch Flatten.
10. Once you’re finished, PhotoForge2 gives you a myriad of options to save your image. Just hit the cloud button on the far right, and save.
And the final result…
In past months it’s come to my attention that a lot of designers don’t understand the printing processes. It’s true a lot of promotional pieces, ads and information are moving online, but we still live in a world where people need things printed on a poster, brochure or package.
I first started studying design in 1998 and at the time, the web was a new place for advertising still coming into its own, and we still designed mostly for print. Terms like, Camera-ready art, setting up proofs on card stock, and Pantone books were still in effect.
While I can write a whole book on the differences between web and physical designing, I just want to cover the main issues i’ve come across. I have a full-time job as a Pre-Press Operator, and I deal a lot with physical printing. Today, I wanted to explain to you the differences and terms of Spot Color and CMYK.
A spot color is a term mostly used in offset printing. It’s an ink defined by a Pantone number. It consists of four colors; Cyan, Magenta, Yellow and Black, also called CMYK. Every spot color is it’s own plate, when printing. Think of a plate as a layer for color. If you have 5 colors, you have five plates.
Here’s a small tutorial on how to find and use a spot color.
Open up Illustrator and start a new project.
Make some boxes and fill with any color you wish.
Go to Window > Color
This will open up the color palette and show you exactly what the break-down is. It’s safe to say it will either read CMYK or RGB. To make sure it’s on CMYK go to the Drop down box on the far right and select CMYK. If you look at the sliders you can see that the Cyan, Magenta, Yellow and black can create any color you desire.
Alone this formula doesn’t help me figure out what color you want. No two screens are alike and you can’t match colors in this way. When a designer sends me work to print and they say, “I want that red, I have it separated for you in CMYK.” That means to me, they didn’t pick a color from a Pantone Swatch Book. This also means I’m guessing in the dark what color you really want.
A Pantone Book is a series of swatches, each with a number that correlates with a Spot Color. It’s kind of the missing link from physical to digital. When starting a new project, it’s best to start looking at a Pantone Book. This is the best way to keep that color consistent throughout the entire project.
Say you see a red in the Pantone Book, and it’s a 484. You want to use it in your artwork instead of the CMYK separated red. It’s a fairly easy process to execute.
To open up the color palette go to Window > Swatch Libraries > Color Book
Instead of going into the different styles, coatings and books we’ll just stick with the PANTONE Solid Coated (Make sure you use the exact option in illustrator as the book you’re using. Otherwise your colors won’t match). You’ll see a window open up with a bunch of thumbnails.
To search a color go to the drop down box and select show find field (If it’s not already present).
Start typing in the 484 and Illustrator will select it for you. Selecting or dragging the color will make that box the 484. Even if it doesn’t look like the color on the swatch book, it’s still always going to be that color from the book. Remember, screens lie to you. Unless you do an exact color calibration and even then, never trust a computer screen. Even a print out for that matter. You’ll never get an exact match. Leave it to the professionals.
If you want to manage and easily see your Spot Color selection go to
Windows > Swatches
A quick and easy way to get rid of any color not in use, (Or to see a color that shouldn’t be there) go to the drop down menu and select all unused. This will highlight any color not in use. Just drag them down to the trash and you should only be left with the 484. This can come in handy when you deal with multiple Spot Colors or need to quickly change or select an entire color.
I hope this helps a little bit when setting up your artwork. I’ve seen it happen when a designer will create a beautiful work of art in CMYK and miss deadlines because I have to explain what a Spot Color is, and they go back essentially recreating the entire job.
If this was at all helpful or interesting, I’d love to hear about it. Anything that is wrong? Please let me know. If it was helpful, I do plan on making more posts like this explaining the differences in printing and anything that goes with setting up files to make it easier, quicker, and less frustrating when communicating with your own printer.