Category Archives: Technique

Technique

Reader question: How to add borders to online photographs

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From time to time people ask what techniques I use to create the simple frames for versions of my photographs that I post online. A while ago I wrote about this: Creating Frames for Online Photos: My Method. The explanation involves the use of Photoshop CS3, but the technique is essentially the same in the current version of the program.

You can read the details at the link above, but the process is basically fairly straightforward. I use Image –> Canvas size to add a series of borders to the original image: a one-pixel gray border immediately around it, a larger white border beyond that with a bit more width at the bottom, and finally a one-pixel black border at the outer edge. I turn this into an action that I can apply by selecting it and clicking a button to run it.

The approach to creating the text incorporated into the web images is similar, though it requires a bit of tweaking with each photograph. Essentially, I create three text layers: one for the large type at the bottom, one for the small embedded copyright notice, and a slightly larger “watermark” that will go over the image itself. The action I recorded creates the three layers and inserts the boilerplate text, but I always have to do a bit of alignment manually, and I may also have to make some decisions about opacity and so on depending upon the characteristics of the individual image. Still, it takes less than a minute to do the whole thing even in the wost cases.

Why apply a border, “branding” text, and copyright to the photographs?

  • If people like your photograph, it makes sense to make it easy for them to find you – so I include the easily readable text with my name and web site URL. No matter where the unaltered file ends up, viewers will be able to find the source.
  • The use of consistent presentation helps to establish the photographer’s “brand.” This is true even when the image is displayed in ways that are out of your control, including search engine results.
  • Inclusion of the copyright information is a formality to remind viewers that use of my photographs requires advance permission.
  • Although the inclusion of a watermark cannot stop a dedicated image thief, I think it reduces the likelihood of misappropriation – and that is probably about all that one can really hope for on the basis of a watermark. It may tweak the conscience of the typical user, who may perhaps simply not have thought about the issues of legal usage, and it may encourage others to look for a different image that won’t expose their illegal use and/or require them to take the intentional step of trying to remove the text to cover up the source.
I also addressed these issues in a separate post at this blog.
(Occasionally a person interested in purchasing a print or licensing a photograph for some other use wonders if the embedded watermarks, copyright information, and branded borders are part of the original images. No. When you purchase a print there is nothing on the paper but the photograph itself and my signature. Photos licensed for other uses – books, magazines, web site, etc – are normally provided without added text.)
Articles in the “reader questions” series:

G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
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All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Commentary, Ideas, Technique

Learning – and re-learning – photography lessons

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How many of us have had one or both of the following experiences?

  1. You plan to photograph something that requires some prior preparation – perhaps a very early arrival. You are virtually certain that you’ll have a great photographic opportunity. The clock goes off and you think, “Maybe I can wait just a few more minutes. I’ll still make it.” Or perhaps it is time to drop what you’re doing and head on out to photograph that late evening scene – but you’d rather just sit in camp a bit longer. And, be honest now, in some cases you just decide it would be easier to stay where you are. And the result? You – OK, I –  miss a great photographic opportunity. (First rule – you have to be there!)
  2. It doesn’t look like anything special is going to happen. You are not feeling terribly inspired, but somehow you manage to load up your gear and head out into the field. When you get there nothing seems all that special, but still you move ahead. Suddenly, and without warning, something wonderful does happen – and perhaps you even gloat a little bit afterward because you were the only one who dragged him/herself out there to photograph it. (Hey, that’s the “first rule” all over again!)

I sort of relearned that lesson again this past week while I was in the Tuolumne Meadows area of Yosemite National Park. This time I decided to take it a bit easy and instead of backpacking simply get a camp site at the large campground at Tuolumne Meadows. Perhaps the fact that I could sleep in and that I didn’t have to work hard caused me to, well, catch up on some sleep on the first couple of days. I was starting to fall into that trap when I finally decided that I needed to get “out there” even if I was oh so comfortable sitting around camp .

And on Thursday night I wasn’t quite certain what I would shoot, so I more or less figured, “Might as well shoot in Tuolumne Meadows.” When I got there I saw the beginnings of some amazing cloud formations – and I switched gears from “lazy photographer mode” and became “organized and productive photographer” for the next couple of hours. And I think I was rewarded for my efforts. The next five or so daily photographs posted here will tell the tale. Or so I hope… :-)

Like they say… first rule : Be there!

Commentary, Ideas, Technique

Good advice for shooting ‘sunsets’

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In a post at Focus on Singh-Ray Filters, Steve Kossack writes:

“I have learned not to walk away from a Sierra sunset until well after the light has faded to almost complete darkness.”

I strongly share this point of view. I cannot tell you how many times I’ve been surprised by the most compelling evening light long after many other photographers have packed up their gear and left. While the warm “golden hour” light is indeed wonderful, all kinds of astonishing stuff can happen after the sun drops below the horizon. Sometimes the light shines upwards and suddenly illuminates high clouds; sometimes it takes on color casts are almost beyond belief; the colors often intensify and deepen; clouds and mist change form as the temperature drops; and on certain lucky occasions you may even begin to see some stars or planets in the sky.

Commentary, Technique

How to photograph… baseball?

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OK, I know that seems like a very odd post title for this blog! (Though I do photograph certain sports from time to time and I always carry my camera when I go to Giants games – come to think of it, sometimes the photography is more interesting than the game. But I digress…)

I mention all of this because I just read through a very informative post at the Digital Photography School blog. The post (“How to Photography Baseball”) by Darren Rouse contains almost more information than I can absorb – well worth bookmarking if you think you’ll be doing this sort of thing.