Shooting Landscapes with your iPhone

Transcription

Shooting Landscapes with your iPhone
The best camera is the one you have with you!
www.OneStopPhotoWorkshops.com.au
Page |1
One Stop Photo Workshops – Copyright 2013
Contents
So what makes iPhones so good as a camera? ............................................................................................................3
The two most important things irrespective of which camera you use.......................................................................3
Composition..............................................................................................................................................................4
Light ..........................................................................................................................................................................4
How to best use my iPhone's Camera to shoot landscapes? .......................................................................................5
Some Really Cool Accessories.......................................................................................................................................5
Ollocli ........................................................................................................................................................................7
Glif.............................................................................................................................................................................8
Joby Gorilla Mobile ...................................................................................................................................................9
Rain Ballet ...............................................................................................................................................................10
Some Even Cooler Apps ..............................................................................................................................................11
ProCamera ..............................................................................................................................................................11
Photogene2 ............................................................................................................................................................14
Best Pano ................................................................................................................................................................12
Pro HDR...................................................................................................................................................................13
Processing an image with the Photogene2 App Workflow ........................................................................................16
Page |2
So what makes iPhones so good as a camera?
The iPhone’s camera is a lot more than just an ordinary point and shoot camera when you consider the possibilities when you
combine an extraordinary array of accessories and Apps that let you do just about anything you like!
So what makes an iPhone so good as a camera and enough so to be writing this guide? iPhones as we know have
become extremely widespread so the number one advantage is that they are incredibly convenient – we always
have them with us no matter where we go! As the saying goes, the best camera is the one you have with you!
The latest iPhone camera at the time of writing this guide is the iPhone 4s. Its camera boasts an 8MP sensor and
whilst it can never compete for quality with a DSLR camera (irrespective of resolution, DSLR’s have much bigger
and better quality sensors), it can compete with digital point and shoot cameras where many people are now
replacing their point and shoot cameras with their iPhones. Sure an iPhone’s camera doesn’t contain anywhere
near the functionality available on even the most basic digital point and shoot camera however this changes when
you combine your iPhone’s camera with the extraordinary array of accessories and Apps that let you do just
about anything you like!
By stating basic digital point and shoot cameras, it’s applied that such cameras don’t enable you to set a desired
aperture or shutter speed as this is definitely not possible with the iPhone’s camera and a further disadvantage is
that the iPhone’s (or any smart phone for that matter) aperture is typically set wide open so this ultimately means
that not everything in the scene will be in absolute focus; something that is very important when shooting
landscapes. But again we’re reminded that most point and shoot cameras behave the same way and we’re not
trying to compete with a DSLR. That being said the iPhone represents a great camera to use and easily capable of
delivering excellent results for the irregular landscape shooter.
Including the benefits already mentioned the iPhone camera is so widely used today for the following reasons:
01 It’s free when you already have an iPhone
02 It’s incredibly convenient – they are everywhere we go so you’ll be able to
capture shots in situations when you might not be able to otherwise
03 The quality is good
04 Extremely easy to use – anyone can use them
05 Very versatile when you combine the world of Apps
06 Compatible with a wide variety of photography-related add-ons
Page |3
The two most important things irrespective of which camera you use
First things first, irrespective of which camera you use in landscape photography there are two things to consider and when used
correctly together will be responsible for capturing a great landscape image. These two things are composition and light.
Composition
The following is a list of the most commonly applied compositional ‘rules’ which should be considered more as a
guideline for when framing an image:
Endeavour to compose images so that they all comprise of a foreground, mid-ground and background that
01 way giving an image more depth and lead the eye into the photograph
Include a foreground interest that will catch the viewer's eye and lead it into the scene. To achieve this
02 look for natural lead-in lines or interesting patterns or colours
03
04
05
06
Use lead-in lines to lure or guide the viewer's eye towards a main point of interest where the viewer's
eyes will stop and rest, rather than have the lead-in lines lead the eye to the edge of the image. Often a
lead-in line that runs diagonally works best
Avoid bright areas/hotspots that draw attention away from the main subject. The main subject/focal point
should always be the brightest area of the image as the human eye is naturally attracted to the brightest
area
Avoid unnecessary and distracting detail in images which can distract the viewer's attention away from
the main subject. Always exclude any elements that do not have a role to play in the composition or does
not help the image. The simpler the image is the more impact it has
Finally and probably the most popular rule of all, endeavour to adopt the rule of thirds where an image is
divided into two horizontal and vertical lines which create four points in the image (nine squares should
be created). The most dominant elements/subjects are then placed at either of these intercepting points
in order to produce a more balanced and visually pleasing image
Light
The quality of light that a photograph is captured in is equally if not arguably more important than a strong
composition. When shooting landscapes, always endeavour to shoot at either dawn or dusk; from 1 hour either
side of sunrise or sunset called the "golden hour“. This time of day produces soft and warm light and produces
soft shadows and subsequently aids in correctly exposing an image. Better still the colours produced by a setting
or rising angled sun will be reflected by any clouds in the sky therefore producing colours in the sky not possible
at any other time of the day. Cloudy/overcast conditions also represent a great time to shoot. Whilst no colours in
the sky will be produced during these conditions, a good balanced exposure however is much easier to achieve as
the intensity of the light is diffused through the clouds and also thus making shadows much more subtle.
Shooting in harsh lighting conditions creates a high brightness range and subsequently leads to extreme contrast
and limits tonal variations of each colour. In these lighting conditions, the subject brightness range exceeds the
range that your camera’s sensor is capable of recording and so therefore detail in the highlights and shadows will
be lost.
Page |4
How to best use my iPhone's Camera to shoot landscapes?
Follow the steps below to achieve the best possible results when shooting landscapes with your iPhone. This is all you need to
know!
Disclaimer
The following instructions are intended to apply to the iPhone 4 and above models equipped with the iOS 5 software
Using the Native Functionality of your iPhone
Activate the gridlines by tapping Options at the top of the screen and then
tapping On adjacent to Grid and then Done. The grid breaks the image up into
nine equally sized squares and helps you compose your image; especially
handy when applying the rule of thirds. The gridlines will also come in use
when focusing
Activate HDR by tapping Options at the top of the screen and then tapping On
adjacent to HDR and then Done. HDR or High Dynamic Range automatically
captures multiple exposures of the same scene and then automatically
combines them to create a better exposed image. This is especially important
when shooting a bright sky where the foreground is much darker
Double tap 1/3rd of the way into the scene (on the
centre of the bottom gridline) to activate the focus and
exposure locks. You will know when the focus has been
locked when a blue square pulsates. At this point you
should notice an ‘AE/AF’ notification on the bottom of
the screen further verifying that the focus and exposure has been locked.
Focusing 1/3rd into the scene maximises the amount of the scene that will be
in focus
Holding your iPhone very still with both hands and elbows tucked into your
body, depress the volume up button on the side of the iPhone to capture the
image
Note: Avoid pinching the screen to zoom in or out as zooming significantly reduces image quality. Also avoid
using the flash as flash washes out too much detail and is not suitable for shooting landscapes
Page |5
Expanding the Functionality of your iPhone with the ProCamera App
To expand on the step-by-step instructions using the native functionality and enable you to further increase the
quality of your image, it’s recommended that you install the ‘ProCamera’ App which is covered in detail later in
this guide. The ProCamera App includes a handy built-in level to keep the horizon level and a self-timer and image
stabiliser to increase the sharpness of your image. The self-timer is useful to prevent having to touch the iPhone
when capturing the image and the image stabiliser feature allows you to click the shutter button and where it will
then only capture the image when the camera is perfectly still. In addition the PoCamera App allows you to set
exposure and focus locks independently of one another where you can select an area in the scene which
represents the most neutral tone; i.e. somewhere where it is not bright or dark. These extended functionalities
are all very important when shooting landscape photographs. More on these later.
Page |6
Some Really Cool Accessories
All very affordable and all very useful, this section reviews 4 of the best and most suitable accessories for your iPhone camera for
shooting landscapes. Don’t waste your money on buying anything more!
Ollocli
How much? $69
Where can I get it from? Olloclip
What is it?
The Olloclip system is a 3 in 1 focal length expansion system that allows you to expand the focal length range of
the fixed lens found in your iPhone’s camera. It therefore allows you to realise the vision that you have but were
previously restricted to the fixed focal length. Three lenses are provided; the fisheye, wide-angle and macro
lenses and each are simply slid over the rear-facing lens on your iPhone and ready to go! The only limit to your
vision then becomes your imagination.
Page |7
Glif
How much? $30
Where can I get it from? Studioneat
What is it?
The Glif is the perfect companion for the Joby Gorilla Mobile tripod discussed later. It’s a very light yet very sturdy
tripod mount that attaches your iPhone to a tripod and is incredibly versatile. You can easily position your camera
in either portrait or landscape orientation. It’s also so small that it even comes with a keychain holder so you can
attach it to your keys and use it whenever you like!
Page |8
Joby Gorilla Mobile
How much? $30
Where can I get it from? Joby
What is it?
The Joby Gorilla Mobile tripod has been especially made for the iPhone. This compact and very practical tripod
can be adjusted to suit any surface with its flexible and wrappable legs so is even more effective for the landscape
shooter. It allows you to take images from any angle you can imagine. If you’re shooting landscapes then this
piece of kit is absolutely critical!
Page |9
Rain Ballet
How much? $50
Where can I get it from? The Joy Factory
What is it?
The Rain Ballet is a waterproof case for your iPhone; ideal for anyone wishing to shoot seascapes and protect your
iPhone against any sea spray or in the event you drop your iPhone near the water... The case can protect against
water immersion for as long as 30 minutes and at a depth of 1 meter. The case features front- and rear-facing
Sharpvue lenses that still allow you to capture images.
P a g e | 10
Some Even Cooler Apps
With so many Apps now available you can be forgiven for feeling overwhelmed and not knowing where to start! This next section
subsequently reviews the top 4 Apps needed by anyone looking to capture and produce the best possible landscape image from
their iPhone’s camera.
Image Capture:
ProCamera - Use this App when capturing your image
Download it here
The ProCamera App provides unrivalled extended functionality during image capture. Of the most useful
capabilities for the landscape photographer is the built-in horizon level, self-timer and image stabiliser where the
later two are critical towards achieving sharp results when combined with a tripod. This is definitely the must
have App for anyone wanting to extend the native functionality of their iPhone’s camera.
How much? $2.99
Features
01 Built-in rule of thirds grid and horizon level with the ability to calibrate at any stage
02 Self-timer to ensure sharp images with the capability to define a custom duration
03 Set the exposure and focus points separately just tap, hold and drag
04 Image stabiliser – the image won’t be captured until the camera is still. You can even set the tolerance
05 White Balance lock – point and lock the White Balance and then reframe
06 Burst shooting mode – just hold down the shutter and images will keep being captured
P a g e | 11
01
02
03
04
05
06
Best Pano – Use this App when needing to capture a panorama
Download it here
A common complaint often heard when looking at an image after it’s been taken is that it doesn’t reflect the
scene and this is often because we can’t capture everything that we see. Shooting a panorama overcomes this
restriction and with the Best Pano App the process of capturing one is made so simple. There are no limits on how
many images you can put together with this App allowing you to create sweeping 360 degree views. With a builtin horizon level and the ability to retake an image however many times you like, it’s easy to achieve good results.
How much? $0.99
Features
01 Very simple
02 Built-in horizon level
03 Super-imposing view of previous image enabling each image segment to be perfectly matched together
04 Ability to retake an image if it has not been correctly overlayed the previous image
P a g e | 12
01
02
03
04
Pro HDR – Use this App when capturing images with high tonal contrast
Download it here
A favourite tool of landscape photographers is a Neutral Density Graduated (ND Grad) filter which is generally
used to hold back the exposure on the sky as the sky is typically much brighter than the foreground. Without this
filter exposing for the foreground would blow-out the sky and make it become pure white and similarly exposing
for the sky would render the foreground under-exposed. An alternative to using an ND Grad is to take two
separate images (one exposed for the sky and the other for the foreground) and blend them together; this is the
concept of High Dynamic Range (HDR) photography. The Pro HDR App subsequently allows you to manually
define two separate exposure points and automatically captures and blends the two different exposures together
to create a well exposed image.
How much? $1.99
Features
01 Take separate exposure readings from any two areas of the image (typically sky and foreground)
02 Set-up timer to avoid camera shake and achieve sharp images
P a g e | 13
03 Crop final image
04 Basic image adjustments
01
02
03
04
Image Processing:
Photogene2 – Use this App when processing your image
Download it here
The Photogene2 App represents the ultimate in image processing capabilities boasting many similar capabilities
to that found in Photoshop. From noise removal and Curve and Levels adjustments to dodge and burn localised
adjustments this App has it all. Even save your adjustments as pre-sets and apply them later to any number of
images in an instant! Photogene2 also allows you to create metadata templates to apply to each image on export
which is very handy for appending copyright and keyword information.
How much? $0.99
P a g e | 14
Features
01 Intuitive design making it very easy to use
02 Extensive range of image adjustments unmatched by any other image manipulation App
03 Retouching brushes enabling localised adjustments
04 Cloning and Healing tools
05 Ability to create custom pre-sets and apply them to any image in future
06 Full metadata (EXIF) data display
01
02
03
04
05
06
P a g e | 15
Processing an image with the Photogene2 App Workflow
The final section in this useful eBook provides a step-by-step process on the workflow one can follow when
processing an image through the Photogene2 App. Almost every aspect of this sophisticated App is covered so
some steps you may not necessarily require in your workflow but nevertheless this represents a good starting
point.
Follow along
To follow along the workflow feel free
to download the before and after
images available online
The Starting Point
Start at the centre main navigational control – all of the adjustments are
found here in the very intuitive menu system
Image Straightening
First things first, if your image is not level then straightening it should be the
first step prior to any cropping. Tap the ‘Rotate’ option
Tip:
Always straighten prior to cropping in
order to prevent excessive cropping
of the image
Image Straightening
Next use the Straighten Angle slider to adjust the angle of the image in
conjunction with the grid lines to accurately determine the correct position of
the horizon. If no horizon exists use any straight lines in the image as a
reference. In the example here the line where the base of the mountain
meets the ground was used
P a g e | 16
Image Cropping
With the image straightened it is often necessary to crop out any distractions
to present a stronger composition or to conform to a common ratio. Tap the
‘Crop’ option to begin
Image Cropping
The default cropping option is to define a custom ratio allowing you to select
the width without affecting the height and vice versa. This option offers the
greatest flexibility
Tip:
Confine your images to a small set of
ratios to achieve consistency when
you display your images together
Image Cropping
Another option is to select from a pre-defined set of common ratios by
tapping the Ratios option in the top menu. Using this method automatically
sets the height of an image if the width is changed and vice versa
Image Cropping
If the desired ratio doesn’t exist then you also have the flexibility to define
one and save it as a custom ratio for future use. In the example here a 3:1
panoramic ration was defined and saved for future use
P a g e | 17
Image Adjustments - The Engine Room
Tapping the ‘Adjust’ option reveals a multitude of adjustments and is where
all of the main processing is performed. The first adjustment is to improve
clarity
Tip:
Be very subtle with the adjustment
sliders. Build-up the affect slowly
Clarity Adjustment
The clarity adjustment works by increasing contrast between edges separated
by highlights and shadows and essentially boosts not only the contrast of an
image but also the sharpness as well. Be very subtle with the Clarity
adjustment as it’s very easy to overdo it. In the example here only an
adjustment of 0.77 was applied
Exposure Adjustment
Tapping on the ‘Brightness’ adjustment reveals both an Exposure and
Contrast adjustment slider. It’s recommended that you only modify the
exposure and ignore the contrast adjustment slider here. The contrast can be
adjusted with far greater precision later using Curves. You will see why it’s
important to use Curves as an alternative. Increase the exposure to lighten
the image or decrease it to darken it. In the example the image has been
darkened overall to reduce the brightness of the clouds so as to not distract
attention away from where the viewer’s eye should be directed. The
foreground is now darker than what it should be but this will be lightened
back up with localised Dodge and Burn adjustments later. It’s useful to point
out that an ‘Auto’ option exists which you can try first as a starting point
Saturation Adjustment
Adjust the intensity of colours in the image overall using either or both the
Saturation and Vibrance adjustment sliders. In the example the saturation
was reduced to make the sky greyer and a closer representation of the scene
on the day. The foreground was also impacted in performing this global
adjustment however this was also intended
P a g e | 18
White Balance Adjustment
Change the overall feeling of the image using the ‘White Balance’ adjustment
by either cooling or warming-up the image. Dragging the Color Temperature
slider to the left cools the image (image becomes more blue) and dragging
the slider to the right warms-up the image (image becomes more red). It’s
also possible to give the image a tint using the Tint slider
Shadow/Highlight Adjustment
Up and till this point in the workflow all adjustments have been global
meaning that the entire image is modified. The ‘Shadow/Highlight’
adjustment is the first of the adjustments that allows you to target specific
areas, or as in this case tones in an image. This subsequently allows you to
lighten-up areas that appear too dark without lighting-up any of the image’s
brighter areas
Shadow/Highlight Adjustment
In this example the shadows were lightened to recover and reveal some
detail in the mountains in the background and avoid the shadows blocking-up
Tip:
Double tap the pointer on the slider
to re-set it to its default starting
position
Sharpening the Image
Typically performed as the last step in a workflow, sharpening an image is
performed after re-sizing the image as the amount of sharpening directly
relates to how big the image will be printed. In this case however it’s assumed
that the image will be exported and saved at the native full resolution size
and so sharpening will be performed earlier in the workflow. You can adjust
both the strength of the sharpening (amount) and the spread (radius). It’s
recommended that the Default settings are applied as a starting point
P a g e | 19
Removing Noise
Noise is typically an issue when shooting in dark conditions and is more
noticeable in the shadows and in the sky; anywhere where there is a lack of
detail. In a more serious workflow noise would be among the first things to
remove in an image but to keeping to a logical order it will be removed here.
It’s important to note that noise will not be an issue in all images so skip this
step if you can’t notice any when fully zoomed in. An adjustment using the
Luminance slider will often only be required
Tip:
Double tap on the screen to zoom in
Levels Adjustment
Tapping the ‘Histogram’ option reveals the image’s histogram; a graphical
chart measuring the tonal range from pure black (left-hand side) to pure
white (right-hand side) and is the best source to determine the exposure of
an image. If the tonal range does not fully extend from pure black to pure
white as in the example, drag each of the left and right-hand sliders in until
they touch where the tonal range begins on each end. Performing this
adjustment increases the tonality of the image
Colour Balance Adjustment
The ‘RGB’ option allows you to independently alter each of the primary
colours (red, green and blue) and acts in a similar way to the Colour Balance
adjustment in Photoshop. Drag each of the sliders left and right and observe
the affect
P a g e | 20
Curves Adjustment
Darker
Tones
Lighter
Tones
You might recall that we ignored the Contrast slider under the ‘Brightness’
adjustment and it was for very good reason as Curves allow you to more
precisely improve the contrast of an image. The bottom of the curve
represents the shadows, the top of the curve represents the highlights and
the middle point in the curve represents the neutral (grey) tones in the
image. You can tap on any point along the curve to add a new point and
specifically target the respective matching tones where dragging the point
higher lightens the matching tonal range and dragging it lower darkens the
matching tonal range. In the example the ‘Lighten’ pre-set was selected as a
starting point to lighten-up the image and a point was then selected near the
top of the curve so as to prevent the brightest tones in the image from being
lightened and therefore blowing-out to pure white
Tip:
Prevent highlights and shadows from
clipping by setting separate points on
the curve at the top and bottom
Retouching – Applying the Finishing Touches
Tapping the ‘Retouches’ option reveals a number of tools to refine and apply
the finishing touches to the image. This workflow will just cover the more
frequently used Clone and Burn and Dodge tools. All of the Retouching tools
are localised adjustments.
Localised Darkening
Select the ‘Burn’ retouching tool; we’re going to darken the top right-hand
corner of the sky which is too bright and distracting attention away from
where it should be directed. This is commonly referred to as a ‘Hot Spot’
Brush Adjustments
The first thing is to refine the default brush
settings and this can be found by tapping
the options menu at the top. Tap the last
option to begin where we’ll set both the
size of the brush (radius) and the softness of
the brush (feather). Reduce the feather to 0
to produce the softest edge this way
helping make any adjust-ment made
invisible as possible
Hard Edge
Soft Edge
P a g e | 21
The next brush attribute to change is the instensity (opacticty) of the brush.
To change this tap the next brush option and drag the slider to a low
intensity. In this example the slider was dragged down to 20%
High Intensity Low Intensity
Tip:
Paint with a low brush intensity
setting so as to apply the change very
subtlely and build-up the effect
Applying the Brush and Mask Display
Brush onto the hot spot area to subtly darken; building-up the affect
gradually until the right balance of darkening has been achieved. Try to blend
the change in so as to make it impossible to notice where the darkening has
taken place. To display the area where you have darkened tap the ‘Show
Mask’ option
Menu Checking
Once all burning has been completed, tapping the Done button reverts you to
the Retouching menu where you will notice that the Burn option has now
been ticked allowing you to keep track of your retouching refinements
Localised Lightening
Following previous steps 22-23 apply the same changes however this time
selectively lighten areas using the ‘Dodge’ tool. In the example the mountains
in the background were further lightened to try and preserve more detail.
However after revealing the mask to see the area that has been affected
some of the sky has also been lightened. This needs to be corrected. With the
mask visible, tap the ‘Erase’ option, reduce the size of the brush (radius) and
increase the brush’s intensity (opacity) and erase the lightening incorrectly
applied to the sky
P a g e | 22
Try and be as accurate as possible and if you accidently erase lightening
where you shouldn’t have then simply revert back to the Dodge tool and
brush those sections back in – easy!
Tip:
To assist you when erasing pinch the
screen to zoom in so you can target
the affected area with great precision
Cloning
At times it is useful to be able to remove any distracting objects within the
frame and to allow you to do so a Cloning retouching tool is used. In this
example the top of a road marker has been included within the frame and
rather than cropping it out and subsequently cutting out a large section of the
image, the cloning tool will be used to just remove the road marker.
Before you start reduce the feathering of the brush right down to 0 and
adjust the size (radius) of the brush to suit. Now you need to touch a point on
the image where you want to clone from. Choose a specific area that closely
matches the brightness and texture of the section that you want to replace.
Once complete you will notice a round dotted circle appear where you have
taken a sample from; this circle can be dragged should you need to reposition
the sample area.
Finally, touch over the area that you want to clone out where in this example
the top of the road marker was touched and subsequently replaced with the
previously selected area. Keep brushing until the affected area has been
completely cloned out
P a g e | 23
The Final Adjustment
The final adjustment is to add a vignette to the image to help draw and focus
the eye to the centre of the image. To do this tap the ‘Enhance’ option from
the main adjustments menu
Applying a Vignette
With the first option in the Enhancements selected, drag the slider to the lefthand side to darken the edges; you can observe the impact this has on the
image in real-time. It’s important to not over-do-it and darken the corners too
much. Again you want to try and make any image adjustments appear
invisible
Tip:
For more options when applying a
vignette, tap the ‘Manual’ button
Before and After
At this stage it’s handy to view a before and after preview of the image to see
how far you’ve come and also to allow you to check for anything that you
might want to go back and adjust. All of the changes made so far are
completely reversible and editable until the image is exported. How’s that for
a complete non-destructive workflow? Tap and hold the before and after
preview button to view the original image
P a g e | 24
Exporting the Image
Once you’re finally happy with the image, it’s now time to save your
masterpiece. Tap the export button to reveal a number of options including
the following:
-
Change the resolution
Resize the image
Save to Photo Library
Share on Social Media
Direct FTP upload to your website
Email the image
Tip:
Always export the image at full
resolution and full size to maintain
the best image quality
Now go out and have fun with your iPhone’s camera!
P a g e | 25
Want to take the next step from here and begin achieving professional quality
results?
Book a One-on-One Photography Course or one of our many weekend Photography Tours by visiting:
www.OneStopPhotoWorkshops.com.au
P a g e | 26

Shooting Landscapes with your iPhone

Transcription

Similar documents

Make your with Chicag Smart Phone Even S go Title`s My Rep Inf

Kiosks And photo Labs. With The METAZA

COBRACAM PRO

IP Cam Viewer App Setup

The Wish List

www.mikes-music.com

How Automated should my office be?

VALENCIA 2 Y100

amaysim Guide to Internet, MMS and Troubleshooting for iPhone

Salpido 4K Sports CAM Ultra HD Action Sport Camera