There’s a ton of buzz out there when it comes to AI infiltrating the photography industry. Some photographers are adamantly against using AI in their work, calling it fake or cheating. But the truth is, this disruptor is here to stay, and while it might feel nice at the moment to side with the ‘never-AI-ers,’ you’ll end up regretting your resistance to it in the long run. AI editing hacks can save you hours in your workflow.

I, too, was cautious in the beginning since I’m primarily a headshot photographer, and no photographer can compete with an AI generated corporate headshot for $30 bucks. So I definitely understand both sides. But in this article, I’m going to highlight some of the amazing ways photographers can use this new tech to their advantage in their portrait sessions. 

Adobe has officially released their AI image generating engine (Adobe Firefly) into Photoshop. In my other business, I teach Photoshop. This allows me to beta test for the company, so I’ve been exploring this new tech for a few months now. And… it’s amazing. Tasks that used to take me half an hour to complete now take a few seconds.  

[Read: AI Imaging and Professional Photography]

Tip 1: The Dreaded Fly-Away Hair Clean Up

Gone are the days when I used to have to spend hours painstakingly retouching out each individual stray hair from a portrait. Now, I let Photoshop’s AI do that grunt work. I start by making a selection around the edge of the hair, and then use the prompt area in the Contextual task bar to input a phrase like “remove fly away hairs, clean polished hairline.”

The generative fill then gives me three variations to choose from (within the Properties window), and all I have to do is simply pick the one I like best. Here’s what selecting looks like and the before and after of the one I chose as the final.

And the magic doesn’t stop there. I wanted to see if AI could reduce cross hairs which make hair look frizzy in some instances. So I tried it and to my astonishment it worked. I circled the affected area, imputed the prompt “remove frizz,” pressed the generate button and was astonished by the results. 

This type of work used to consume my time worse than mistakenly stepping through the Narnia wardrobe portal. And now it can be done within seconds. These are the types of tasks you can easily use AI editing hacks for when you’re a portrait photographer. 

Tip 2: Reconstructing Parts of Your Subject 

Often, in an effort to make my subject feel closer to the viewer, I’ll slightly crop off the top of their heads in the images. This gives the viewer the feeling that the subject is closer to them than if their head were intact. It’s a tried and true method many headshot photographers have used over the years. But every so often I get a reply from a client asking me to put the top of their head back in. In the past this would have required me to go back to the files in my archives, find the certain look/outfit the client was wearing in the chosen frame, find a nearby shot that had the top of their head in the photo and then manually try to align both images and blend them. 

Now, thanks to AI, it’s as easy as using Generative expand. 

All you need to do is activate your crop tool, then make sure your Fill option in the top settings bar is set to “Generative Expand,” drag the canvas out, hit the crop check mark, and viola! The top of the head has been constructed for me within seconds. Another instance where AI has saved me 20 minutes of work.  

This also works for arms and shoulders that may have been inadvertently cropped out of the shot during a headshot session. Reconstructing these parts of a body is easy-peasy for Photoshop’s Adobe Firefly. 

Tip 3: Easily Remove Glare from Glasses

This is something I’ve learned how to avoid over years of trial and error in camera. But trust me, when I tell you these techniques were not learned overnight. Thankfully, generative AI can help with this, too, and with a much faster learning curve. 

Make a selection around each set of reflections, and simply click generate. The AI will do it’s best at matching the color, contrast, lighting and surroundings of your image while generating your fix. 

For this, you can either choose to leave the prompt field blank, or input what would be generated behind the reflection. 

I find that doing this in chunks gives you a better result. So, do one section of the reflection, then repeat the same steps until all the reflections are gone. 

Remember that you have three options to choose from each time so make sure you choose the best result for each area. Here are the results after I completed three generative fills to remove all the reflections: 

WARNING: Make a note NOT to select the subject’s iris in your selection. If you do so, you’ll generate a new iris which will not represent the person you’re photographing and will make the portrait inauthentic. 

In closing, AI doesn’t have to be scary… at least not yet. So why not use it to make your life easier as a photographer. Using these AI editing hacks while you retouch your portraits can save you tons of time and increase your productivity tremendously. 

Kristina Sherk is a retoucher and Photoshop educator who loves “translating Photoshop” for photographers. She has spoken at CreativeLive, Photoshop World, KelbyOne, Adobe, Canon, LinkedIn Learning, ImagingUSA, and WPPI. Learn more from her about Photoshop on YouTube and Instagram.

[Read: Turn a Pool into an Epic Underwater Shoot with Kristina Sherk]

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For many people, total solar eclipses are a once-in-a-lifetime opportunity. So if you are, or you are going to be, on the path of totality on April 8, you might want to consider not just safely watching it but snapping photos of the incredible event. You will have several minutes of totality, so you have time to both gaze at the spectacle and create a lasting image of what is going on in the sky.

The first thing is please do not look at the Sun without proper glasses. The Sun is very bright and the Moon shields most of its brightness as totality is approached… but that doesn’t make the portion of the Sun you can see any less damaging. Only when the Moon completely covers the Sun it is safe to remove glasses.

This is even more important when you consider lenses. If you are using cameras, binoculars, or telescopes, use them only with the appropriate filters in the lead-up to totality. Seeing the sun with the naked eye is very risky; putting your camera equipment or eyeball in the way of a magnified and collimated sunlight is destructive. If a lens can use sunlight to start fires, you do not want to put something you care about behind it.

How to best photograph the eclipsed sun

Now that the warnings are out of the way – seriously, protect your eyes – this is how you should approach photography of the Sun during an eclipse. Make sure you have a filter if you are planning to take shots before or after totality. At totality you don’t need filters and glasses – but only at totality. Trust us, you will know totality when you see it.

You do not need fancy equipment to photograph totality. Make sure you are in the right position and maybe consider if you want to include the panorama as well! The sky gets weirdly low on the horizon during an eclipse, like a sunset in all directions. The celestial spectacle can also be enhanced by the terrestrial spectacle of the people watching the eclipse!

If you are using a DSLR or another camera, consider a good zoom lens to get a nice close-up shot of the Sun. For DSLR cameras, the best way to determine the correct exposure is to test settings on the uneclipsed Sun beforehand. Using a fixed aperture of f/8 to f/16, try shutter speeds between 1/1,000 to 1/4 second to find the optimal setting, which you can then use to take images during the partial stages of the eclipse.

ⓘ IFLScience is not responsible for content shared from external sites.

During totality, the corona has a wide range of brightness, so it’s best to use a fixed aperture and a range of exposures from approximately 1/1,000 to 1 second; but, you could try to do something more complex. Renowned astrophotographer Andrew McCarthy took a beautiful shot of the eclipse in 2017 just using automatic settings on a DSLR and a good zoom lens. This time around he plans to do something even more spectacular.

“That photo was captured using automatic settings and a 300mm telephoto lens on an extremely old DSLR. This year I will be capturing a much more technically complex shot, which will be a high dynamic range photo using several telescopes and cameras all working simultaneously for the four minutes of the eclipse. The resulting image will have much more detail and dynamic range if I succeed,” McCarthy told IFLScience.

You can find more details about the shot and general eclipse photography in his guide. And we completely agree with his parting advice: do not fidget with the camera for the whole totality. You have just a few minutes of the Sun being covered by the Moon; do not waste them looking at a screen. 

And please stay safe before, during, and after! 

Photographer James Kerwin is known for his images documenting abandoned buildings worldwide. His latest series, The Sanctuary, takes him to Turkey, where he explores the abandoned mosques present in small villages across the country. Many of the structures are over 500 years old and have been left in favor of more modern spaces for worship. Thanks to Kerwin, we’re able to appreciate their beauty and architectural detail.

To create the series, Kerwin, who is based in Istanbul, passed through approximately 18 towns and cities and visited over 40 villages, covering five of Turkey’s seven vast regions. Each visit was truly an adventure, as Kerwin didn’t know what he would find until he arrived at his destination.

“I never scouted the places prior in the flesh but tried to make sure there was at least some fairly recent news,” the photographer tells My Modern Met. “However, it failed with four of my top targets—I arrived, and they had vanished.”

Luckily, even with this hit-and-miss strategy, Kerwin found plenty of architecture to spark his creativity. As he’s particularly inspired by color, he was pleasantly surprised to find many mosques retaining their vibrant interiors. His photography reminds us of the incredible artistry and craftsmanship that went into these religious structures and is an important testament to their existence.

Through this series, Kerwin hopes to share the rich heritage of Turkey and its architecture. To him, it’s particularly important given that most tourists only visit a small fraction of the country.

Check out some of our favorite images from the series below and see the full gallery on Kerwin’s website.

James Kerwin is known for his photography of abandoned spaces.

For his new series, The Sanctuary, he traveled across Turkey searching for abandoned mosques.

He visited over 40 villages and found some mosques that were over 500 years old.

Many of these spaces have been left behind in favor of modern places of worship.

But through his photographs, we can appreciate the artistry and craftsmanship of the interiors.

Abandoned Mosque in Turkey by James Kerwin

James Kerwin: Website | Instagram | Facebook | Youtube

My Modern Met granted permission to feature photos by James Kerwin.

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Photos of Abandoned Churches Display the Decadent Beauty Left Behind in Ruins

Photographer Preserves the Forgotten Beauty of Abandoned Sites Around the UK

Arizona, US

‘I came upon this coyote at a wetlands park in Tucson as it stepped out of the shadow and into the early morning sun. After it had given me the stare, it trotted off a bit, flopped down, gazed intensely into the bushes, had a good scratch, and then loped off to find a roadrunner or possibly some easier prey.’

Photograph: Gillian D Henry

Black & White Minimalism Magazine is proud to announce the winners of the prestigious 2024 Black and White Minimalist Photography Prize. Despite the focused theme — minimalist black and white photographs — this year’s competition attracted a strong showing of 1,300 submissions, showcasing the enduring appeal of minimalism in black and white photography.

Grand prize and recognition

Yvonne C. Krystovsky emerged as the 2024 Grand Prize winner for their captivating photograph titled “In Great-Grandpa’s hands.” She will receive a well-deserved cash prize of $1,000 and international recognition.

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Second and Third Place

Following close behind are Daniel Zaleski with “Minimalist Concrete Staircase” and Alexandre Caetano with “On top of Serra da Capelada.” Both photographers have demonstrated exceptional talent in the minimalist black and white style.

Honoring finalists

The competition also recognizes a select group of talented photographers with a showcase of their work as Finalists. These individuals pushed the boundaries of minimalist black and white photography and deserve recognition for their artistic vision. You can see these images on their website.

Celebrating excellence

The winning photographs and finalists will be prominently featured in the annual Black & White Minimalist Photography Prize book and exhibition, reaching a global audience. This prestigious platform provides well-deserved recognition to these talented artists and offers a visual feast for enthusiasts of minimalist black and white photography. In addition, the winning works will be showcased on our high-traffic social media galleries, garnering thousands of views and potentially elevating the artists’ careers to even greater heights.

2024 Jury Members

• Alexandre Manuel: Professional Photographer
• Tim Nevell: Landscape Photographer
• Milad Safabakhsh: Chief Editor of BNW Minimalism Magazine

For more information, please visit their website.

PUTNEY — When Kate Cleghorn first visited Puebla, Mexico in 1984, she found the country “a revelation.”

In a recent interview, she launched into a discussion of Mexico’s origin story, noting that its leader Montezuma believed that gods from the East would come to rule.

When the Spanish explorer Cortez came from the East, Montezuma asked only for Cortez’s helmet. Cortez agreed — but asked for it to be returned filled with gold. When it was, Cortez’s conquest gained urgency.

In that early exchange lie paradoxes at the root of Mexico today. Faith in a spiritual world led to temporal destruction. What the Western world saw as weakness belies an inner strength and celebration of mystery.

That belief in prophecy, of a spirit world that governs life — that sense intrigued Cleghorn. In her many travels throughout rural Mexico, the Southern Vermont photographer came to see that “there is magic in this acceptance of a spiritual world residing in nature.”

Her new book, “Mexico: Spirit of Place,” contains 48 full-page black-and-white photographs.

“Puppet Priest” fuses the Spanish influence of Catholicism with the indigenous beliefs, in this case the love of giants, as embodied by the man in the foreground wearing a costume. Part of this fusion of Catholic and indigenous beliefs, Cleghorn notes, is that many current cathedrals are built on ancient religious sites.

For “Goat Herder,” Cleghorn “did not intend to create a centaur,” yet the blurring of goat herder and dog hints at a closeness, and their images, too, are close to the tree that dominates this dry landscape.

“Bare Feet” is influenced by Nell Dorr, who traveled to Mexico and wrote a book with that name. “I happened upon this woman on the beach,” said Cleghorn. She did not want to be photographed, but agreed to step into the frame and have her feet photographed. “Photographing ordinary people, ordinary things” ties into themes of another photographer she admires, Manuel Álvarez Bravo.

“Incense” underscores Mexicans’ use of incense in ceremonies. A priest stands in the background. The shapes are in harmony here, the sweep of scarf, the arch above, the woman in the center of this impromptu image. (And just what is the man in white shirt doing? Photoshop could remove him — but this is a film image.)

“Church of San Juan Parangaricutiro buried by lava by the volcano Paricutin” shows the effects some 80 years after the volcanic eruption. Cleghorn likes this image in part because of her efforts to get it: “It was so hard to get to: I had to ride a horse for a couple of hours and walk across lava.” The lack of vegetation all these years later “shows what the lava can do,” she said.

“Fish, Puerto Escondido” was taken on the Oaxacan coast of the Pacific Ocean. “I loved the textures involved … and the play of the light and dark … I like organic subjects — fish, dogs, plants,” said Cleghorn. She has returned to this image repeatedly using gravure, platinum print, and salted paper to vary textures and shadings.

Part of her motivation for publishing the book was to show Mexico, a place she loves, in a positive light. She always felt safe there, whether traveling alone and with others, at times helping a professor from Rice University leading tours. She has been away for nine years, but doubts that things in rural areas would have changed. “I never had any problems ever … People are hospitable, they bring you into their homes.”

“Mexico: Spirit of Place” is available at Vermont Center for Photography, vcpbookshop.org, of Brattleboro.

PUTNEY — When Kate Cleghorn first visited Puebla, Mexico in 1984, she found the country “a revelation.”

In a recent interview, she launched into a discussion of Mexico’s origin story, noting that its leader Montezuma believed that gods from the East would come to rule.

When the Spanish explorer Cortez came from the East, Montezuma asked only for Cortez’s helmet. Cortez agreed — but asked for it to be returned filled with gold. When it was, Cortez’s conquest gained urgency.

In that early exchange lie paradoxes at the root of Mexico today. Faith in a spiritual world led to temporal destruction. What the Western world saw as weakness belies an inner strength and celebration of mystery.

That belief in prophecy, of a spirit world that governs life — that sense intrigued Cleghorn. In her many travels throughout rural Mexico, the Southern Vermont photographer came to see that “there is magic in this acceptance of a spiritual world residing in nature.”

Her new book, “Mexico: Spirit of Place,” contains 48 full-page black-and-white photographs.

“Puppet Priest” fuses the Spanish influence of Catholicism with the indigenous beliefs, in this case the love of giants, as embodied by the man in the foreground wearing a costume. Part of this fusion of Catholic and indigenous beliefs, Cleghorn notes, is that many current cathedrals are built on ancient religious sites.

For “Goat Herder,” Cleghorn “did not intend to create a centaur,” yet the blurring of goat herder and dog hints at a closeness, and their images, too, are close to the tree that dominates this dry landscape.

“Bare Feet” is influenced by Nell Dorr, who traveled to Mexico and wrote a book with that name. “I happened upon this woman on the beach,” said Cleghorn. She did not want to be photographed, but agreed to step into the frame and have her feet photographed. “Photographing ordinary people, ordinary things” ties into themes of another photographer she admires, Manuel Álvarez Bravo.

“Incense” underscores Mexicans’ use of incense in ceremonies. A priest stands in the background. The shapes are in harmony here, the sweep of scarf, the arch above, the woman in the center of this impromptu image. (And just what is the man in white shirt doing? Photoshop could remove him — but this is a film image.)

“Church of San Juan Parangaricutiro buried by lava by the volcano Paricutin” shows the effects some 80 years after the volcanic eruption. Cleghorn likes this image in part because of her efforts to get it: “It was so hard to get to: I had to ride a horse for a couple of hours and walk across lava.” The lack of vegetation all these years later “shows what the lava can do,” she said.

“Fish, Puerto Escondido” was taken on the Oaxacan coast of the Pacific Ocean. “I loved the textures involved … and the play of the light and dark … I like organic subjects — fish, dogs, plants,” said Cleghorn. She has returned to this image repeatedly using gravure, platinum print, and salted paper to vary textures and shadings.

Part of her motivation for publishing the book was to show Mexico, a place she loves, in a positive light. She always felt safe there, whether traveling alone and with others, at times helping a professor from Rice University leading tours. She has been away for nine years, but doubts that things in rural areas would have changed. “I never had any problems ever … People are hospitable, they bring you into their homes.”

“Mexico: Spirit of Place” is available at Vermont Center for Photography, vcpbookshop.org, of Brattleboro.

A black and white photograph of two boys flying kites on the steps of the Teopanzolco Cultural Center in Mexico has been named Concrete in Life Photo of the Year taking home $10,000.

Saeed Rezvanian took home the top prize after his photo impressed judges for its “dramatic effect”. This year’s competition saw the first people’s vote competition that awarded $5,000 to Muhammad Nurudin for his photo photos of a farmer beneath Mandara Toll Road in Bali, Indonesia.

There were four other category winners who each received a prize of $2,500.

Concrete Beauty and Design

Concrete in Daily Life

Concrete Infrastructure

Urban Concrete

The Concrete in Life Photo of the Year competition is organized by the Global Cement and Concrete Association (GCCA). The contest is currently on exhibit at the Brunswick Art Gallery in London.

For information about next year’s competition and to see all the shortlisted entrants head to the website.

Are you a local business, real estate agent, or homeowner looking for Pittsburgh drone services for photography and videography? We are here to help!

Jeremy received his FAA license for small unmanned aerial flights via the Part 107 certificate in early 2024. By holding this license, we can offer commercial drone photography and videography services while operating in accordance with all FAA airspace rules and requirements.

We presently fly with a DJI Mini 4 and are able to produce photography and videos within the greater Pittsburgh area to meet your aerial needs. 

Before inquiring, please read more about our FAA license and rules and restrictions regarding our services. While our packages are fully customizable to meet your needs, there are a few laws and flying best practices we must abide by at all times.

The photography sector has undergone a massive transformation in recent years, thanks to all the advancements of the last decade. One of the technologies that helped bring numerous improvements is blockchain. While originally the blockchain was created for cryptocurrencies and to help people understand how to buy Bitcoin at the best price possible, now this technology has found applications in various industries, including photography.

Blockchain is a distributed and decentralized ledger that records transactions with the help of nodes across several computers. It provides transparency, immutability, and security to digital assets. These characteristics also made blockchain ideal for the photography sector, where some issues have been identified over the years, including counterfeit products and infringement. 

Let’s learn more about blockchain technology and how it can benefit the photography industry. 

Image source: https://www.freepik.com/free-photo/happy-female-photographer-checking-images-digital-camera-while-working-night-studio_25744789.htm?query=creative%20photography#from_view=detail_alsolike#position=6&query=creative+photography#uuid 

What is blockchain?

Blockchain works on complex mechanisms, but the general concept is quite easy to grasp. This technology can be described as a decentralized data storage that prevents data from being manipulated, owned or controlled by a single central player. Because blockchain is based on transparency and trust, the information on the ledger is available to the general public. This reduces the chances of manipulation and fraud. 

For the photography industry, the blockchain can democratize the market and offer more opportunities to people from all around the world. 

How can the photography industry transform through blockchain?

• Authenticating digital assets. One of the biggest issues photographers face is the unauthorized distribution and use of their work. But with blockchain, some of their problems could improve, as photographers will finally be able to authenticate their digital assets, thus ensuring that their rights are respected and their works remain protected. By using blockchain, each photo can be registered on the blockchain, thus having an immutable record of the usage and ownership history. In this way, artists can control their creative work more. 
• Royalty management. With blockchain, photographers can also streamline their royalty management process. Blockchain enables the use of smart contracts, which represent self-executing contracts with the agreement’s terms written in code. Because of this fact, they can automatically distribute and track royalties to photographers when their work is sold or licensed. This has plenty of advantages as it eliminates the need for intermediaries and minimizes the changes of disputes and payment delays.
• Copyright protection: Photographers face numerous challenges today, including copyright infringement, which happens when their pictures are shared or copied without consent. However, by using blockchain, artists could sign their work digitally, and only after that they would upload their image into the blockchain. This will create a tamper-proof and timestamped record, which will prove to be useful in proving the authenticity and originality of their work in case of disputes.
• Ensuring transparency in licensing. Another quite complex process is licensing, which makes it challenging for artists to understand whether they receive fair compensation or how their work is being used. However, by using blockchain technology, the licensing transactions will be recorded on a transparent and open ledger that will allow artists to benefit from real-time visibility on how their work is used and licensed, thus ensuring they receive fair compensation and proper attribution. 

What are the advantages of blockchain in the photography industry?

Blockchain allows a better distribution of work for photographers. This technology can be an efficient and cheap infrastructure for all the artists to deliver their photography better. Creators could use blockchain to distribute work to new channels, monetize their creations and sell to buyers directly.

Here are all the advantages that blockchain could bring to the photography sector.

• Enhanced security. Blockchain will offer improved security to artists by storing and encrypting their digital assets across numerous nodes. This makes it very difficult for hackers to steal or tamper with the photographs, thus maintaining the confidentiality and integrity of the photographer’s work. 
• Authenticity and trust. Blockchain provides a trustless environment where artists can share their work without worrying about plagiarism or unauthorized use. With the decentralized nature of blockchain, there is no single point of failure. Moreover, the technology is tamper-proof, and the authenticity of the photographs’ work can be proven beyond doubt.
• Better accessibility and global reach. Blockchain offers the possibility for photographers to expose their work to a worldwide audience without traditional gatekeepers or intermediaries in the way. Thus, creators can connect with collectors, buyers and art lovers from all over the world, offering new opportunities for monetization and exposure.
• Transparent and immutable recordkeeping. Blockchain provides a transparent and immutable record of transactions, thus allowing photographers to keep track of the licensing history and the usage of their work. This helps with the enforcement of copyrights and also offers valuable insights into buyer preferences and market trends.
• Streamlined payments. Blockchain uses smart contracts, which can automate the payment processes, thus ensuring photographers receive rightful earnings. Furthermore, blockchain can facilitate revenue sharing across numerous stakeholders involved in the photography sector, such as agents, models and publishers. 

The bottom line

Blockchain technology can revolutionize the photography industry by streamlining the processes in the photo value chain, protecting rights and providing the artist with better control over their work. Blockchain is characterized by transparency, security and immutability, and these attributes can be precious in the photography industry, as this sector deals with some issues currently, including unauthorized use and copyright infringement.

As an artist, it is crucial to stay updated with the latest technological advancements because, in this way, you can explore the advantages you can add to your creative pursuit. By embracing blockchain technology in photography, you will not only protect your work better but also benefit from opening doors to revenue generation, collaboration and global recognition.

So, what is your opinion on implementing blockchain technology in the photography industry?