As an expert Photoshop user I am meticulous about my processes and I do not expect to lose work. Today I have lost the same job, not once, but twice, before I figured out what was causing the issue. Let me share this “feature” with you before it costs you hours of labor as well.
In Photoshop CC2015, as well as CS6, the dialog box for converting a file from one colorspace to another has a line at the bottom named “Flatten Image to Preserve Appearance”. No matter what well-meaning goals Adobe had for including this box, and defaulting it to checked, the results of doing a conversion of a multilayer file with this box checked can be catastrophic. All text layers are lost as text, all layers are lost as layers, and the resulting converted file is a flattened, one layer image. Unless you notice this change before saving the file, then you have a major data-loss situation
So, if you value your layers, and all the work they represent, uncheck this box before converting. And from now on keep one eye on the bottom of this window, rather than converting without checking these options, for fear that this option may once again have become active, and ready to lose your layers and your work!
Shots into the sun can be a challenge, particularly with the more recent iPhones and their sapphire lens covers, which cause a lot of flare with shots incorporating a bright light source. Using sunblocks is one solution. When an object is available that can be used to block, or at least partially block, the sun, the resulting image can have better contrast and detail, as well as reduced artifacting. A convenient tree is the most common choice, and classic, especially with a palm tree. But using foliage at a corner of the image can get good results in a less obvious manner, as can other image elements. Even sunset shots can benefit from sunblocking, as the last of these images shows. So remember your sunblock!
Color palettes are groups of related colors, such as primaries, or pastels. There are palettes associated with certain holidays, or seasons. Conflicting palettes can create striking images that grab the eye, and demand further consideration. This can be valuable in locations where images compete for the eye. The image below includes two classic color palettes: the hot summer colors of the sailboat, and the more natural fall foliage colors of the trees. The challenging relationship between these two palettes creates a memorable, and eye-catching, image.
There are few ways to get more smiles, or more attention, than images of amusing signs. This can range from intentionally witty ones, to signs with poor grammar, to signs that seem normal in one location, but very odd to those from other places, to unintentional placement of signs. Stock up!
Numbers are in constant demand for graphics, articles, blog posts, and even book covers. Take the time to start an interesting numbers series, and remain on the lookout as you shoot, for additions to the series. Interesting numbers shots will be amoungst the most popular of your stock images with writers, graphic designers, illustrators, and bloggers. Consider creating multiple series, depending on colors, or locations of numbers within your images. Include plenty of context, and let the designers crop as desired.
As an architectural photographer, it is easy to focus on images of empty buildings and silent streets. Such shots may well serve many purposes best. But it is also important to shoot images containing people. This adds scale, interest and, well… life. The image at the bottom below was recently used to discuss lighting for narrow streetscapes. The image above it is all of that, plus an overflowing helping of life. A wine tasting taking place in the same street a month later offered this opportunity to contrast the empty and the full. Each serves a different purpose, and each would speak to a different image purchaser. Just add life, plus appropriate keywords, et voila!
Backlighting is the method that deprives the objects being shot the light they need to be clearly seen. And yet, in some instances, it can create a compelling result. Here the backlight rakes the rear and surface, providing a textured backdrop. And enough light is bounced from the arch above and to the right to provide a modest amount of sidelight, defining the teapots that form the subject.
The familiarity of these pots mean that less lighting is actually more, modeling them dramatically, and making them an interesting study, instead of the obvious objects they would be with more typical lighting. This is the very type of lighting that artists sometimes use to light subjects for still life studies in charcoal or ink. The result is a photograph echoing a hand-drawn black and white still life. A touch of warmth in the image color, mostly to the upper right, and a cooler “light leak” mostly on the lower left add a color range to the otherwise monochrome image.