Multiple exposure is an old technique that was enjoyed by photographers long before digital cameras came along. The process involves exposing two or more images onto one frame so that there’s a multi-layered effect, with parts of both images revealed on top of each other. This used to be achieved by disengaging the film advance and taking two shots on the same piece of film.
Obviously, there’s no film advance on a digital SLR, but many cameras have a digital version of the feature built in, which is easily accessible from the menu. Even if your digital camera doesn’t have that component, you can still achieve the same effect by combining two images in Photoshop and blending the layers together.
In this project, we’ve used the multiple exposure technique with a little twist: both images are essentially the same, we’ve just moved the camera a fraction between the two shots. This creates a painterly, almost impressionistic view
of the woods for a cool, artistic effect.
For the finishing touch, we’ve added a monochromatic warm tone. So let’s
see how it’s done…
There’s a lot to be said for a simple, uncluttered control system but, for immediate access to wide-ranging shooting parameters there’s never been a substitute for banks of buttons, or at least not until recently. The Quick Control screen on your Canon DSLR isn’t a brand-new development – cameras like the EOS 50D sported this feature – but it comes into its own on new Canon cameras, beginning with not-too-distant offerings like the EOS 550D, delivering a raft of essential adjustments behind the camera’s refreshingly consolidated button layout.
Compared with the older 450D, the new Q (Quick Control) button takes the place of the White Balance button on the back of the camera. Even so, you still get dedicated buttons for accessing white balance as well as ISO, exposure compensation, drive mode, and autofocus options, and for selecting various picture styles like Standard, Portrait and Landscape
Dodging and Burning is an easy way to solve exposure issues, enabling you to darken or lighten areas as you please. Traditionally, printers would use special tools to Dodge and Burn, but today digital tools can be used. One main difference is that the digital photographer can work these tools more accurately, choosing the Burn options to darken or Dodge to lighten. This’ll give you more tonal control allowing you to quickly lift a flat image, create paths of light, or enhance shadows and reflections.
The most important piece of kit in your camera bag isn’t your Canon DSLR; it’s the glass you put in front of it. This might be a cliche, but it’s true. A high-calibre lens attached to a beginner-level camera will always produce better quality images than a top-end pro body fitted with a cheap kit lens.
That said, there’s an incredible amount of creative potential in the versatile 18-55mm kit lens that came with your EOS camera, and the chances are you may not be fully exploiting it. This guide will give you all the confidence you need to start doing just that. We’ll explain how you can get the best from the lens you own, whether that’s a standard zoom, a wide-angle, telephoto zoom or specialised macro lens for close-ups.
We’ll show you how different focal lengths can transform your photographic results, and explain how best to deal with optical problems you might face in the field. Get ready to see things more clearly…
We all love the Lomo look, with its distinctive distortions and charmingly off-kilter colours. Sure, you can shoot with a cheap plastic lens or try one of the arty effects in your camera, but Photoshop is also a great way to get the Lomo effect without having to pay for the film processing. The key to getting this Photoshop effect is to introduce many of the ‘faults’ associated with cheap lenses, plus quirky extras like film grain and deliberately wrong colours. Here’s how to do it…
For some people, the appearance of a digital camera – especially a DSLR – brings on a sudden facial affliction. No sooner have you got them in frame then their face contorts through a variety of bizarre expressions. Whether intentional or not, this can be a real issue when shooting portrait photography – particularly in group shots, but individually it is possible to use it to your advantage.
With the announcement of the Nikon D3200 last week, you might be considering a new DSLR. In fact, you might be considering the D3200! With 24.2 megapixels, it certainly seems, on paper at least, like the ultimate beginners’ camera.
Whether you’re looking to upgrade or stick with what you got, we thought we would break down one of the key elements of your Nikon DSLR: its shutter speed scale.
One thing people always seem to want to learn in Photoshop is how to superimpose a head onto a different body – or a Face Swap, as it is popularly known. This could be a father and son face swap as we’ve done here, or perhaps you could transform someone into a celebrity or bodybuilder.
Of course, there are more practical uses for face swapping, too. For example, if one person in a group photo has their eyes closed, you could copy a new head in from a similar image.
We’ll let you debate its merits, in the meantime, this is how it’s done…
Are you determined to make more of your DSLR, but remain baffled by some of the options? Don’t worry, you’re not alone. And we’re here to help.
One of the most common queries we hear from photographers is, ‘What AF mode should I use?’ While there’s always nuance to a question like this depending on what you want your picture to look like, there are some general rules to follow when starting out.
By adding a delicate tint of colour to the midtones of a black-and-white shot, you can easily change its mood. A cold wash of blue makes the image look more atmospheric, while a warm sepia tint recreates a retro romantic look. The trick to creating cyanotype or sepia-toned shots is to add a subtle tint while keeping the blacks black and the whites white. Here’s how to create these brilliant Photoshop effects using Elements.
