GW Loc: Idaho

One of the best things you can do is make sure you go to the rehersal and do so practice shots...

jkm757 Loc: San Diego, Ca.

One of the nice things about this shoot is it will be a very small group of people in an informal setting and I know all of the grooms family and most of the brides family.

Hal81 Loc: Bucks County, Pa.

I was a wedding photographer for 39 years. If it was a formal wedding I would suggest you ask a pro to go with him for a few weddings for free as a helper. But seeing it is informal and in a back yard and they know your not a pro go for it. Have fun. Shoot the importint parts and just go for all that catches your eye, shots that you think they would like to have. Good luck.

DrPhrogg Loc: NJ

2 more thoughts. Do lots of candids. Know who the important people are. I was a family member at a wedding where the principle didn't know who Great-grandma was, and didn't know they were going to announce a Papal Blessing. (He was out getting a smoke)
And learn to use fill flash outdoors. It will make a world of difference.

jkm757 Loc: San Diego, Ca.

Thanks Hal. The main reason I agreed to shoot the wedding was because it's informal. If it was formal I wouldn't touch it with a ten foot pole.

SharpShooter Loc: NorCal

Joe, I'm sure if your a good and creative photographer, I'm sure you'll do just fine.
I have not shot a wedding, but my advice is to make sure you have all the proper lenses and lighting, and have practiced using it to be proficient.
Have fun, and don't forget to shot
SS

Singing Swan

My daughter recently attended an informal back yard wedding and I was a little impressed with the photos the bride got of her special day. She had a professional do them and he got some great candid shots when the participants weren't really paying attention to him. And I was also surprised, knowing the backyard, how well he kept distractions out of the shots. He made their raw, newly landscaped yard look like it was at least five years settled.

This isn't any help to you or even good advice, but you can make even an informal day look special with a little thought and some extra practice. I wish you good fortune and happiness for the new couple.

joer Loc: Colorado/Illinois

This might help.
http://www.knotforlife.com/planning/checklists/photography-poses.shtml

Camerabuff Loc: Liverpool UK

Find a local wedding photographer and ask if you could offer your services free of charge just to see how it's done.

abc1234 Loc: Elk Grove Village, Illinois

JKM, I used to do weddings and they are a lot of hard work. Consider very carefully if you really want to do it. The grab shots are the easy ones. The formals take skill and experience. I would not want to learn on the job whether for a friend or paying customer. If you follow everyone's prudent advice, you will spend a lot of time learning skills that you may never use again. Is this a challenge you really want?

Weddings have no margin for error. You must nail the portraits and ceremony; you cannot go back and reshoot them. Furthermore, you are working the event and not enjoying it. And wait until you get back home and have to process all those images.

Meanwhile, no one addressed equipment. Do you have the right stuff?

I know your friend's request is flattering but weigh any disappointment in the results against your future friendship. If your friend and bride have low expectations, then perhaps you can do it. If either is picky, do not risk the relationship.

Opus Loc: South East Michigan

joer's link to a check list is great and I would suggest using it. You will need a good flash, a diffuser, and enough experience to know when the diffuser is needed and when it is not. I have only done 8 weddings but always scouted out the location and planned what backgrounds I would use well in advance. If you have a back up camera bring it along, you never know. Extra batteries for the camera and flash are a must. Good luck.

ncshutterbug

I have had to explain to friends that it takes special equipment that I don't have to get truly good wedding shots, and I have had no training for that sort of thing. I wouldn't want the responsibility for ruing the memories.
If I were you I would make a contract agreeing that they won't take you to court if they aren't happy with them.
I'll bet you will do a beautiful job, though. You know them better than a wedding pro would and you can capture their personalities better.
Good luck!

cthahn

I hope you still have a friend when you get done.

crimesc324 Loc: West Palm Beach, Florida

I acted as the second photographer on several wedding shoots and was asked to photograph a relative of a close friends wedding. I also reluctantly accepted. I read up on it, followed posts here on the Hog and practiced, I ended up taking quite a few photos. Did a little post processing and gave the disc to the bride and groom. Luckily, they were very happy.

Do as suggested, practice practice practice and even google for checklists, they help. Good luck.

Bobbee

Two things, someone posted some information on this in another thread. I am cut/pasting it here. I reprint this without his permission, but then, he looks to have gotten it from someone else. Go look at this link and read on. Some good stuf once you get past your typical 'Don't do it' comments.

http://digital-photography-school.com/wedding-photography-21-tips-for-for-amateur-wedding-photographers

Keep It Simple, Shutterbug part 3- Weddings and Post-processing

My Take on Wedding Photography ( Updated November 25 2013

Essential Equipment

Two camera bodies that share the lenses
Two flashes (strobes) plus cables, etc.,
18mm-55mm zoom
50mm standard lens F1.8 or even better F1.4-for low-light situations
Not essential, but handy for candids and from back of church images- 70mm-300mm zoom lens
Several digital memory cards
At least three times as many batteries as you think you will need
Tripod for formal photos
Lens hoods to control flare


Planning the wedding shoot

You must have a timetable to work from, or you will fail miserably.

You must always remember:

The Bride is never on time
Cars are sometimes late arriving
Ministers will often talk for longer than expected
Traffic may be chaotic
Something may have been forgotten somewhere

Murphy, being the Patron Saint of Wedding Photographers, will no doubt ensure that if anything can go wrong-it will, and usually at the most inopportune moment. Allow for plenty of time for each section of the shooting script.

Planning Session

Planning is crucial, so make sure that time has been allowed for photography, and travelling to each location.

A: Who is Paying?

Find out who is paying for the photography, because the person footing the bill is the client, and needs to be consulted-If the bride’s parents are paying, and want nice, classic portrait shots of Bride & Groom, and the Bride wants cross-processed, arty, or black & white images-you had better get nice safe photos for Mum and Dad as well!

It is very important to find out and determine EXACTLY what the client wants, and is expecting to get. Quite often people do not know what they want-until you have shot it.
What you don’t want to hear is: “ We didn’t want half of this stuff, we want a refund!!!”

Whoever is paying, make sure you get paid up front. I usually ask for my daily rate photography fee on signing the contract, and the balance seven days before the wedding date. (This saves you wondering if and when you are going to be paid, and saves you chasing clients for payment.) I also only charge for the day’s photography up front-prints are priced separately - I take around 2000 shots per wedding, and shave these down to around 500 and put as proofs on CD’s made to show to my clients-then they can choose what they want for their albums.

B. Working with schedules and timetables

Once you have found out what is wanted and who is paying, start working out your shooting schedule. I usually type these out and give to attendants in the bridal party, to organise everybody for their photo to save time.

I also type my schedule on small cards for my pocket while I am shooting, so I know when the next sequence is due.

Let your clients know that formal photos of the bridal party should take between one to one-and-a-half hours.-Any longer will drag the proceedings, and any less time will limit the number of set-ups wanted.

Subtly point out that the guests should be advised of what is going on.

It is important to let the client know that if they cut your time, you will need to cut the amount of photography to shoot.

Protocol and family Politics

You need to tread very carefully where family politics are concerned, as you set up groups- ex-wives versus new wives, step-children, recently divorced couples. Better to let people sort themselves where they want to be, then just arrange set-ups accordingly.

If everyone, guests included, know exactly what happens, and when, and with whom, it will alleviate, the Bride’s and groom’s stress, your stress, and you will get results that please your clients.

Once PLAN “A” ( Beautiful sunny day, no wind,) is in place, work out alternatives- “B”; “C”; “D”; etc., You need somewhere to photograph if it’s raining, snowing, gale-force winds etc., And a choice of idyllic locations.


A Typical Schedule Plan


a). Groom’s House

Photos at the Groom’s house happen rarely, but if they are wanted, then you must make sure things run on time, in order to get to the Bride’s house on time

b). Bride’s House

Get to the house early, showing you are organised and professional. The Bride may be very nearly ready, and being the early bird may give you a chance to get things in order without rushing. Confidence is the keyword, so compliment the Bride, say she looks nice, and has nothing to worry about (Do not, under any circumstances tell her she is beautiful, because, if she isn’t, she will know, and this could turn her against you.)

If you can help the bride and her family to be calm at the house, the tone of the whole wedding will reflect on this.
Let the family know what you are going to photograph outside the church, or wedding venue.

c). Church or Wedding Venue

Get to church, or wedding venue as soon as you can to get set up for what follows.
Talk to, and photograph the Groom.
Talk to minister/celebrant, checking all is ok, use/non-use of flash, etc.,
Wait outside for cars to arrive
While the ceremony is taking place, look around for photo opportunities-is the Bride’s Mother crying? her Father, crying or smiling?
Once the vows have been made, register signed, etc., Bride and Groom will walk down the aisle, or things will just finish. This can be an awkward moment-one of two things usually happen:

1) The Bride & Groom will be surrounded by guests, and if there are lots of guests the crowd may take a time to clear.

2) (Usually at churches) when Bride & Groom come out there is no-one at first, then all guests file out slowly and stand around the couple looking at them.

Some guests will want to take photographs at this point, so set up the shot and let them fire away, after you. Work with these people throughout the day, and some of these people could be your next client.

Start the family photos, beginning with the Bride’s side, then the Groom’s, then all the friends and hanger’s-on.

d). The Formal Photos

After all the ceremony kerfuffle, the bridal party will want to relax a bit, maybe have a drink and a smoke for 10 minutes or so, while you are getting ready. But when you are ready, you need to get them back on track to get all required images done on time Bride and Groom, at this point, aren’t usually the problem, it’s generally the best man wants another beer, or the maid of honour who wants another smoke, or someone gets loud. You need to gain control of this.

If there are children in the party, use them first, as they have a very short attention span.
No matter what happens here,-stay calm, even when things go wrong, keep calm you won’t get good photos if you are stressed.
When you think you have finished, better check with Bride and Groom that you have all they wanted, or if you were pressed for time, that you have the set-ups they wanted the most.

Now you have to get back to the reception before the wedding party do.

e). Mock Cake Cutting

This is done when budgets are tight, and you aren’t required to attend the reception, due to funds being tight.

f ). The Reception

Before the bride and Groom arrive at the reception venue, Be ready to catch them arriving.
Things that usually happen at reception are: (in any order): speeches, toasts, food, then the first dance. While there is potential photography, don’t eat, or drink, just in case you miss something worthwhile.
Before leaving be sure that the Bride, Groom and whoever is paying for the photography, have all the shots they need with nothing missed.

g ). After it all

Get the finished prints to the Bride & Groom as soon as possible, that’s good business, You will want them to see the prints while the day will still be fresh in their memory. Do not get caught in the middle of any disputes-The prints are always to be delivered to the Married couple, and not to anyone else. (unless arranged otherwise). If someone other than the Bride & Groom is paying for the photography, it should be explained to them beforehand that the Bride & Groom get the prints.
When sorting out the finished prints, take out the blinks, and the ones that aren’t up to par.

The Photography

A blow by blow account of a typical wedding - Ceremony at 4pm

You have your little schedule cards on a loop of string
You have your flash/strobe set to ¼ Iso (for fill-in, or all outdoor photos if you want to play safe, use at full Iso for indoor shots)
You 18-55 zoom lens on camera

1. At Groom’s house 10:00 am - 11:30am ( All times can only be approximated)

Groom, getting ready,
Groomsmen, playing around
Groom, in mirror
Groom dressed, GQ pose, jacket over shoulder
Groom Full length
Groom with mother Close-up
Groom with Father Close-up
Groom with both parents full length
Groom with both parents close-up
Groom with Grandparents Full length
Groom with Grandparents close-up
With sisters
With brothers
With immediate family
Groom and Best man full length
Groom and Best man Close-up
Groom and best man shaking hands
Groom and all groomsmen

2.At Bride’s house 12:30am - 3:00pm

Bride dressing
Mother helping with veil
Mother/maid of honour adjusting veil
Bride looking in mirror
Bride with mother looking in mirror
Bride putting on garter
Bride putting on garter with bridesmaids looking on
Bride full length
Bride half length
Bride close-up
Bride with Mother close-up
Bride with Mother full length
Corsage being pinned on Mother
Bride with Father full length
Bride with Father close-up
Bride pinning-on Father’s button-hole
Bride with both parents, full length
Bride with both parents, close-up
With Grandparents close-up
With Grandparents full length
With sisters
With brothers with immediate family
Bride and maid of honour full length
Bride and maid of honour. Close-up
Bride with attendants
Bride with flower girl/ring bearer
Bride leaving house with parents and Bridesmaids
Father helping Bride into limo



3. At the Ceremony 3:30pm - 4:45

NOTE: If the wedding ceremony is to take place in a church, or an other low-light venue, you’ll often need to hand-hold your camera. Hand-holding in these situations is tricky, because of the chance of blurry images. (Too slow of a shutter speed) The answer to this dilemma, is to up the ISO; 800 should make things fail safe.
(or use flash-refer to part two of this series)

Groups of guests and everybody [ 28mm or 28-70mm zoom]
Flower girl walking down aisle
Ring-bearer walking down aisle
Maid of honour walking down aisle
Bridesmaids walking down aisle
Father walking down aisle with Bride
Father “Giving Bride away”
Bride & groom exchanging vows
Bride and Groom exchanging rings
The Kiss, request beforehand that they allow you time for a couple of shots
Bride signing register
Groom signing register
Bride and Groom walking back down aisle
Bride and groom outside church
Bride and Groom getting into limo 3

4. Formal Photos 5:00 – 6:30

NOTE: start with everyone, and then as you shoot them, release them to go to the reception until you’re left with just the bride and groom again. When coping with large groups,st aperture at f11,and focus on the eyes of people in the front row. This will ensure a good depth of field for the group, getting everyone in focus.

Bride alone Full length
Bride alone ¾
Bride alone close-up
Bride alone head shot
Bride alone peeping over flowers
Bride & groom Kissing
Bride & Groom full length
Bride & Groom close-up 3
Groom full length
Groom ¾
Groom close-up
Close-up of rings
Group shot of bride & bridesmaids [18-55mm zoom]

5. At reception

Wedding party announced
Bride and Groom announced
Bride & groom’s first dance
Wedding party dancing
Bride’s dance with Father
Groom’s dance with Mother
Best man toasting Bride & Groom
Bride & groom toasting each other
The cake
Bride& Groom posed at cake
Cutting cake
Bride & Groom feeding each other cake
Throwing bouquet
Bouquet catch
Groom taking off garter
Groom throwing garter
Garter catch
Bride & Groom with catchers
Guests leaving 4
Posed departure of bride & Groom ( Kissing, waving etc.,)
Bride & Groom leaving reception venue
Bride and Groom leaving in limo
Close up of invitation
Picture of band or DJ

Odd extra shots:
The bride’s shoes
The bride’s dress hanging on a hanger
The bride’s tiara, necklace, etc.
The wedding invitation
The sheet music played at the wedding
The guestbook (once a few people have signed it)
Their champagne glasses
Name cards at the reception
Their wedding rings
The bride’s bouquet
Any fine detail in her dress


That's it for weddings


Next: Photoshop recipes, (Updated November 25, 2013) Just a few tricks That have worked for me, that I pass on to help you to enhance your images:

Noise (Chroma-colour noise)

- Image> Mode> LAB Colour> Channels
Channel “a” Gaussian blur 5 pixels
Channel “b” Gaussian blur 5 pixels
Channel “lightness” Filter> noise> despeckle
Image> Mode> RGB colour

-Noise (Luma -Grainy noise)

-lasso area and apply smart blur at default setting (For small areas)
-Or Ctrl+J
-Smart blur-Then eraser tool to expose background features

Lateral chromatic aberration (fringing) Removal

Ctrl+J select brush tool and click on the quick mask tool.
Choose a brush size to match the width of the fringe.
Draw all the areas that have fringing. When done, click icon next to quick mask
Select> Inverse.
Image> Adjustments> Hue/Saturation and pick the color closest to your fringe color Click
eyedropper on the fringe color on your image.
drag Saturation slider to the left until the fringing goes.
Select> deselect
Save

Quick method for fringe elimination

Using lasso tool select area with fringing
Image> adjustments> Hue/Saturation
De saturate fringe color
Select> Deselect
save

Transverse chromatic aberration (Moire banding) Elimination

Filters/blur/Gaussian Blur at 1.5 pixels radius\

HDR

(Camera on tripod )
Expose for highlights-take a shot
Expose for shadows-take a shot
Add highlight image to shadow image as a new layer (hold “shift” and drag move tool)
Select> Color Range, Click “highlights” check “invert”, click “OK”
Add layer mask.
Filter> Blur> Gaussian Blur 250 pixels.
Flatten and save.
Local Contrast Enhancement

Ctrl+J
Filter> sharpen> Unsharp Mask
Amount 10
Radius 50 pixels
Threshold 0
Flatten and save

“Pop”

Ctrl+J
Filter> Sharpen> Unsharp mask
Amount 30
Radius 60 pixels
Threshold 10
Blend mode> Luminosity- Flatten

To sharpen - Smart sharpen

Ctrl+J
Unsharp mask amount 18%
Radius 40 pxls
Threshold 0
Unsharp mask amount 150%
Radius 0.3 pxls
Threshold 0
Edit> fade Unsharp mask 100% Darken
Unsharp mask amount 150%
Radius 0.3 pxls
Threshold 0
Edit> fade Unsharp mask 50% Lighten

Smart sharpen ( Alternative)

Ctrl+J
Select> All> Edit> Copy
Channels> New channel (alpha 1)> Edit> paste
Filter> Stylize> Find edges
Ctrl+L move sliders for clean edges
Filters> Blur Gaussian blur1.5 pixels
Select> Load selection-Check “invert” click “ok”
Select RGB channel
View> Show> “selection edges” uncheck
Filter> Sharpen> Unsharp mask- Amount 500
Radius 0.2
Threshold 0
Select> deselect> dump alpha channel
Blend mode “luminosity”
Ctrl+shift+E


To lighten under-exposed images

Ctrl+J
Blend mode Screen
Adjust opacity to suit before flattening/save

To darken over-exposed images

Ctrl+J
Blend mode Multiply
Adjust opacity to suit before flattening/save
- To Vignette portrait images
Create an ellipse around subject, using elliptical Marquee tool
Select> Inverse
Feather radius 250 pixels
Edit> Cut

To reduce skin redness in portraits

Add new adjustment layer> selective color
Set to Reds
Click, hold drag magenta slider to left

Polarizer

1.Ctrl+J
2. Window> Channels
3. Red Channel
4. Ctrl+A; Ctrl+C
5. Lab Colour (Don’t Flatten)
6. Channel> Lightness
7. Ctrl+V
8. Image> Mode> RGB (Don’t Flatten)
9. Select top layer- Layer> Layer mask Reveal All
10. Click on layer mask thumbnail
11. Image> Apply Image
12. Layer-background; channel red; “Invert” Ticked Blending-Multiply-opacity 100% Flatten and
save.

Polarizer (Alternative)

1. Ctrl+J
2. Mode> soft light-click “OK”
3. Press ”D”
4. Press ”G” for gradient tool - Select Black to transparent Linear gradient
5. Mouse cursor at top of image, click-hold-drag down to horizon-release
6. Click on background layer; Click, hold on b/w circle in layer palette
7. Choose selective colour Cyan/magenta 100/100 (Cyans)
Cyan/magenta 100/100 (Blues)
8.Flatten and save

Graduated Neutral Density Filter effect

Add adjustment layer> levels
Drag right slider to left
Drag middle slider to left (These moves enable you to get the foreground how you want it)
Press “D” or "X" to make foreground color black
Press “G” for gradient
Choose linear gradient -black to transparent-2nd icon from left
Drag cursor from top of image down to horizon
flatten/save

Black & White conversion from colour #1

Ctrl+J
Image> Calculations
Background layer
Red
Background Layer
Red
Multiply
New channel
Image> Mode> Greyscale
flatten/save

To black & White Quadtone

Ctrl+J
Image> Mode> Duotone
Choose type: Quadtone
Load> quadtones> pantones
Select last option Bl 541 513 5773. Hit LOAD. Hit OK.
Image> Mode> RGB Color
Flatten/save

To convert to Black & White then selectively colourize

New adjustment layer> Hue/Saturation
De-saturate
F7 (or click on layer mask)
Press ”D”
Click on brush tool
Brush over parts to colourize
Flatten/Save

-To Isolate Objects against a white background:

Photograph your object using any background, Then:
a) Zoom in 200-300%.
b) Use the pen selection tool to chart an exact path around the object.
Get it perfect.
c) Click on working path Icon in paths palette
d) Select> Modify> Contract by 2 pixels.
e) Select> modify> Smooth by 3-5 pixels.
f) Select> Inverse-.
g) Select> Feather by 0.2 - 0.5 pixels.
h) Make sure foreground black/background white - Press Delete.
You now have isolated object on white background.

-To Correct Converging verticals

"Select > All"
"View > Fit on Screen"
"View > Show > Grid" .
"Edit > Transform > Perspective"
Eight small squares will appear around the image edges.
Using the Left mouse button select the small square
at the top left or right corner and drag in the opposite
direction to the way the verticals are tilting.

Sepia/color

1 duplicate layer,
2. then select background copy layer and select background layer invisible
3. select layer and go
image -> adjustments -> Match color...
4. then set luminance to 200 and color intensity to 1
5. then select background layer to visible and take the eraser tool
6 on "background copy" layer start delete the all what you want in real colors

For landscapes

Step one- To bring out detail

1. Ctrl+J
2. filter> other> high pass 1.7 pixels
3. Change blend mode to "hard light"
4. Ctrl+Shift+N
5. Edit> Fill - black 100%
6. Click on eraser tool-set brush size 300
7. Click once in centre of blacked-out image
8. change blend mode to "soft light" Adjust opacity to suit
9. Flatten and save

Step two- To enhance colors:

1. Ctrl+J
2. Image> adjustments> Match Color
Luminance 119
Color intensity 126
3. Flatten/save

Soft light portrait

Press ctrl+j to duplicate the layer and press shift +control +u to de-saturate the new layer.
Click on Add layer mask button
Click on layer mask thumbnail to active it and go to Image> Apply image :-
Layer- merged
RGB
Multiply
100%
Now, click on image thumbnail to active it. ( It is located just before the layer mask thumbnail ).
Now do two things :-
1. Go to filter> Blur> Gaussian blur and give 2.5 radius.
2. Change the blending mode of the layer to Multiply.
Duplicate this layer again and change its blending mode to Linear dodge. You now have soft light
effect on your image. If you want more light than change the blending mode to Color Dodge.

Infra-red

1. Ctrl+j
2. New adjustment layer-Channel mixer
Check "monochrome"
3. Set Red to +100
Green to +200
Blue to -200
Set constant to between 27 and 32
Click “ok”
Flatten and save.


Red eye Reduction

Double click Quick mask icon
Change masking color to green-opacity 60%
Paint mask over eyes
Click icon next to Quick mask
Select> Inverse
Image> adjustments> Desaturate
Add new adjustment layer-Levels
Move both input sliders towards the centre of the range until you are satisfied.
Layers> Flatten image

To Whiten Teeth

Ctrl+j
Select quick mask icon
Select brush tool 13 pixels soft
Brush over teeth
Click icon next to quick mask
Select> Inverse
Image> adjustments> Hue/Saturation -60
Add new adjustment layer-Levels
Click and drag right slider to left until whiteness looks good
Flatten and save

To “POP”Color Using Lab mode

Here's how to "pop" the color using LAB (Lightness-Alpha-Beta; Not"Lab" color.
Image>mode>Lab color
Ctrl+ M -This brings up a grid-by holding the "Alt" button and clicking on the grid, you will get
either large or small squares
Press "alt" and click on grid to get small squares.
Selecting Channel "a",Hold and drag cursor a short distance ( about one and a half squares-right
to left) along top right corner of grid, and do the same to bottom left corner (left to right). Channel
"a" allows you to fine tune reds and greens. Just adjust until the color is good for you.
Repeat the exercise using channel "b"-this fine tunes the blues and yellows.
When you have got it how you want: Click "OK"
Image>Mode>RGB color

Correcting Colour Balance 1

Hover your mouse over a pure grey area on your image
Use the info palette and note down the red green and blue values of the grey area
average out the greys (r+g+b/3)
Open a curves adjustment layer and select the red channel
click anywhere on the curve line and then enter the original red value into the input box
Enter averaged value in the output box
Repeat last two steps for the green and blue channels
Click ok and you're done

Correcting color balance 2

Ctrl+J
Filter>Blur>Average
Click new adjustment layer>Curves,or layers
Click on middle eyedropper, cjick on image
Delete middle layer, flatten and save

Tri-X

1. Desaturate color
Use either the hue/saturation or de-saturate command to remove all color from the image.
2. Add monochrome noise (about 3-5%)
3. Adjust levels
This step can really add to the mood of the shot
Overexpose Highlights
move the highlight slider to the left
Darken Shadows
move the shadow slider a very small amount to the right - this will make the shadows a bit darker
and increase the image contrast; ideally you should barely be able to detect some grain in the
black areas.
Adjust Mid-tones
adjust the mid-tone slider to taste - affects the overall brightness of the image.

Digital Velvia

1. increase color saturation (optional)
To further exaggerate the color, increase the saturation by a few percent.
2. Sharpen (optional)
3. add monochrome noise If you choose to add noise/film grain, try the "monochrome" noise
option. this monochrome noise looks similar to the grain structure of some slide films.
4. adjust brightness/contrast
Increase the image contrast by a small amount - experiment with moving the brightness - also a
slight amount.

Copyright: © Kenneth William Caleno (Dip Phot) 2010