Every Road Tells a Story

If you’re like me the ending of one year and the beginning of another is a special time of transition. We have the opportunity to leave the past behind and move forward in new directions to discover what the future holds for us. Every life – like every road – tells a story.

every road tells a story 1

NIKON 1 J5 + 6.7-13mm f/3.5-5.6 @ 9.8mm, ISO 400, 1/640, f/8.0

For many of us the future looks lush and green – full of promise, with only the faintest hint of difficulty ahead. We journey forth with unbridled confidence and optimism, looking forward to the dawn of each new day. The very idea of not meeting our objectives seems completely foreign…an impossibility.

every road tells a story 2

NIKON 1 J5 + 10-100mm f/4-5.6 @ 10mm, ISO 800, 1/1000, f/7.1

There are other times when the road looks perilous. Where it leads is unknown and we often wonder if the day-to-day efforts that we are expending are really worth it as no apparent reward is in sight. These times test the essence of what we are made, and how dedicated we are to our goals in life.

every road tells a story 3

NIKON 1 J5 + 10-100mm f/4-5.6 @ 10.9mm, ISO 160, 1/320, f/8.0

Every one of us has had times in our lives when we have needed to navigate around obstacles while still pursuing our hopes and dreams. We maintain our sense of purpose and energy. If the twists and turns we are going through seem manageable and worthwhile we persevere. Our destination is etched in our mind, keeping us on our path no matter the number of turns we may encounter.

every road tells a story 4

NIKON 1 J5 + 10-100mm f/4-5.6 @ 17.1mm, ISO 160, 1/500, f/5.6

Our life’s purpose may be grand or small, but deep inside our individual cores we know it is what causes us to get up in the morning to face each day whatever it may bring. The amount of time that each of us has left to pursue our purpose can never be known. For all of us tomorrow is but a promissory note we hope to be able to live.

every road tells a story 5

NIKON 1 J5 + 10-100mm f/4-5.6 @ 10mm, ISO 400, 1/125, f/5.6

Some roads – like some lives – require innovation and effort to overcome factors that are simply impassable if we stayed on our current path. How many times have each of us gone through the process of reinventing ourselves? The number of times, and the efforts it took to do so, matter not. All that really matters is what we learned through these experiences and how they helped us be more purposeful, understanding, and empathetic as we go through life.

every road tells a story 6

NIKON 1 J5 + 10-100mm f/4-5.6 @ 10mm, ISO 160, 1/640, f/5.6

Each of us in our own, unique way has the power to accelerate our journey of self-discovery through the choices we make in life. We need the courage to continue to venture forth regardless of the obstacles and hardships we face. The naysayers we meet. The moments of self-doubt that we may suffer. To live up to our true potential is the gift we have to give to the world, and to those we love. May each of you unlock more of your potential in 2017, and make the world a better place because of it.

Article and all images are Copyright 2016 Thomas Stirr. All rights reserved. No use, adaptation or reproduction of any kind including electronic is allowed without written consent. Photography Life is the only approved user of this article and these Copyrighted images. If you see this article or images reproduced anywhere else it is an unauthorized and illegal use.

The post Every Road Tells a Story appeared first on Photography Life.

via Photography Life http://ift.tt/2iRhm03

Bears Ears! – 30 Dec 2016 – Flickr


The view from Hunts Mesa and Monument Valley looking toward Cedar Mesa and the myriad of beautiful and archeologically rich canyons that make up the brand new Bears Ears National Monument in Utah. The two buttes on the skyline on the right side of the vista are the namesake Bears Ears.

Thanks to President Barack Obama’s proclamation yesterday this region, sacred to five Native American cultures (Navajo, Ute, Ute Mountain, Zuñi, and Hopi) will be managed to protect its environmental and cultural resources. The establishment of the monument is controversial and likely to be challenged by a few local governments, but work on preserving this area has been in the works for almost 80 years, and is welcomed by environmentalists and recreationists, who make up an increasing and sustainable part of the local economies.

n.b. I posted a very similar photo, but not the same, 2 years ago

Happy New Year everyone- sweet light to you this year!

This photo link was provided by the RSS Feed:Daily most interesting photo – Flickr http://ift.tt/2hF1W1a

What Makes a Good Night Photography Lens?

Everywhere in the world, across the course of a year, the sun will be below the horizon just about 50% of the time. Although it can take a while for sunset to fade away completely, it’s safe to say that we spend a huge portion of our lives under dark skies. Normally, nighttime isn’t something that people equate with being awake, of course, but landscape photographers are strange people. In fact, moonlight and the Milky Way can lead to some of the best photos you’ll take, and they are well worth exploring with your camera. In this article, I’ll go through the characteristics that make some lenses better than others for star and nighttime landscape photography.

1) Criteria

More than almost any other type of equipment, a lens for nighttime landscape photography has to fulfill a wide range of difficult requirements. Here’s what the best of these lenses have:

  • A large aperture: At night, you’re fighting for every photon. A large aperture lets more light onto your camera sensor.
  • A wide focal length: As the Earth spins, the stars in your photo begin to blur across the sky. When you use a wide focal length, though, they don’t appear to move as much. So, with a wide angle lens, you can use longer shutter speeds and let more light onto your camera sensor. (If you are intentionally trying to capture star trails, though, a wider focal length isn’t necessary — in fact, you may prefer a longer focal length, since you’ll see blur more quickly.)
  • High sharpness: For night photography, pay special attention to the corners of an image, since you’ll be shooting at wide apertures, where most lenses are significantly less sharp.
  • Low coma: Some lenses cause bright pinpoints of light, like stars, to smear when they are at the corners of your frame. Good lenses have less coma.
  • Low vignetting: If the corners of your photo are excessively dark, you’ll need to brighten them in post-production, which adds a lot of noise/grain.

Typically, the most important features of a nighttime photography lens are its maximum aperture and widest focal length. Why do these matter so much? Simple: they affect the amount of light that reaches your camera sensor.

Night Photography Lenses

NIKON D800E + 14-24mm f/2.8 @ 14mm, ISO 3200, 25 seconds, f/2.8

2) The 500 Rule

Before we dive deeper, let’s cover something known as the 500 rule. This rule says that — in order to avoid blurry stars — the longest shutter speed you can use is equal to 500 divided by your focal length.

For example, if your focal length is 20mm, the 500 rule says that you can use a shutter speed of 500/20, or 25 seconds. Here’s a quick chart of the longest shutter speeds you can use at night for a given lens. (The numbers below are full-frame equivalents. If you have, for example, an 18mm lens on a 1.5x crop-sensor camera, you’ll need to look at 28mm on this chart):

  • 11mm: 45.5 seconds
  • 12mm: 41.7 seconds
  • 14mm: 35.7 seconds
  • 16mm: 31.3 seconds
  • 18mm: 27.8 seconds
  • 20mm: 25 seconds
  • 24mm: 20.8 seconds
  • 28mm: 17.9 seconds
  • 35mm: 14.3 seconds
  • 50mm: 10 seconds
  • 85mm: 5.9 seconds

The 500 rule used to be called the 600 rule, and now I’m starting to hear some people call it the 400 rule. The numbers keep changing because new cameras have more and more pixels, which means that they can detect smaller and smaller star movements. The chart above is a good guide, but you’ll want to test your own camera to confirm that there isn’t too much movement, particularly if you have a recent camera with an extremely high megapixel count (more than 36).

Night Photography Lenses

NIKON D800E + 14-24mm f/2.8 @ 20mm, ISO 3200, 25 seconds, f/2.8

3) Combining Aperture and Focal Length

Quick, which one is better for star photography — a 14mm f/2.8 lens, or a 24mm f/1.8 lens?

The 500 rule favors the 14mm, but the 24mm has a wider aperture. To calculate which one actually lets in more light, you’d need to see if the wide aperture of the 24mm offsets the longer exposure of the 14mm.

Things get even more complicated when you start using lenses on cameras with different sensor sizes. Which is better at night — a 7mm f/2.8 lens on a micro four-thirds camera, or a 24mm f/4 lens on a full-frame camera?

I’ve always found these questions time-consuming, so I made a chart that rates lenses for their nighttime photography potential. This chart has gone through many different versions, but I ultimately decided that the best way to arrange it is based upon the ISO that gives your photos an acceptable brightness at night. (Obviously, a lower ISO is better, since your final photo isn’t as noisy.)

For example, with a 20mm lens — a 25 second exposure by the 500 rule — at f/2.0 on a full-frame camera, what ISO do you need in order to capture a photo that is bright enough? ISO 2563 (rounded to ISO 2500, which your camera allows you to set), according to the chart below. I also bolded and underlined some popular lenses that people use for nighttime photography, so you can see how they compare to one another:

Nighttime ISO

Important note: As you might have been wondering, this “proper brightness” exposure will not actually be accurate in every case, depending upon the conditions that you encounter. At certain times of night, and under different moon conditions, I have used everything from ISO 200 to ISO 6400 successfully, even with the same aperture and shutter speed settings. The values above are calibrated for the brightest portions of the Milky Way under a clear, moonless night without light pollution, and a lens that doesn’t have any vignetting — pretty ideal conditions. In other words, this is a score that helps you compare lenses, and not necessarily a recommendation for your ISO setting in the field, unless you are shooting under ideal conditions.

A few other points to mention:

  • Obviously, round these values. Your camera doesn’t let you pick an ISO value of 2965, for example, so just round up to 3200.
  • This chart is designed for a full-frame camera, but you can still use it with a crop-sensor camera — just pay careful attention to the values you pick. On one hand, if you’re trying to figure out which ISO to use (which, as mentioned above, isn’t necessarily recommended), just multiply your lens’s focal length by the crop factor, and you’re good to go. For example, with the Olympus 8mm f/1.8 lens on a micro four-thirds camera (2x crop), the proper ISO is at the intersection of 16mm and f/1.8. Here, that’s ISO 1691, or ISO 1600.
  • However, if you are trying to compare the nighttime quality of lenses across sensor sizes, the process is different. Multiply both your focal length and your aperture by the crop factor to find your “full-frame equivalent” ISO performance. This lets you compare lenses across different sensor sizes to see which one is best for nighttime photography. In this case, the Olympus 8mm f/1.8 at ISO 1600 has the same nighttime photography “score” as a 16mm f/3.6 lens would on a full-frame camera. In this case, that’s ISO 6356.
    • Looking at this score, the Olympus 8mm f/1.8 would outperform a 16-35mm f/4 lens on a full-frame camera, since the 16-35mm f/4 “scores” an 8160. However, it would lose to a 16-35mm f/2.8 lens on a full-frame camera, which “scores” ISO 4080. Pretty easy!

(If anyone wants the formulas that I used to create the chart above, they’re messy, but I can take photos and add them to the comments section below. Essentially, all I did was look at a good exposure under ideal conditions — 20 seconds, f/2.0, ISO 3200 — and then calculate ISO values that give exactly the same brightness, just with different aperture and focal length (shutter speed) inputs.)

Night Photography Lenses

NIKON D800E + 20mm f/1.8 @ 20mm, ISO 3200, 15 seconds, f/2.0
This is close to the ideal exposure, but it was a bit too dark out-of-camera, and my lens has some vignetting. Ultimately, I had to brighten this photo slightly in post-production. Ideally, my settings here would have been 25 seconds, f/1.8, ISO 2000 (or ISO 2500). Although this photo still turned out fine, I could have used a lower ISO — and done less brightening in Lightroom — if I had exposed more carefully.

4) Depth of Field at Night

You wouldn’t know it from the charts above, but a 14-24mm f/2.8 lens is significantly better than a 50mm f/1.4 for nighttime photography. (According to the charts, the 50mm wins out, since it allows an ISO of 3200; the 14-24 requires an ISO of 3576.)

Why is the 14-24mm f/2.8 better? Simple: depth of field.

Wide angles have more depth of field than any other lens. A 14mm f/2.8 is almost perfect here — it can capture the entire landscape in focus, from 1.2 meters to the stars. By comparison, the 50mm f/1.4 only renders a sharp image from 30 meters on.

(Technical side note that you can skip: How did I get these numbers? It all boils down to this: every object in your photo has — at least — a slight blur to it, both from diffraction and from missed focus. Traditionally, when the size of that blur was larger than 30 micrometers on your camera sensor or film, it was said to be “out of focus.” I find that this definition isn’t good enough for today’s cameras, where a 30 micrometer blur can be very noticeable. However, for nighttime photography, you’ll have to relax your standards a bit. In this case, the old 30 micrometer definition actually works fine, so I was able to use an ordinary online depth of field calculator to find the values above.)

Even with an ultra-wide angle lens, though, you’ll still have problems getting everything in focus at night. Physics is simply working against you. If you’ve tried everything else, consider moving backwards as much as possible — place the foreground farther away from your lens. Of course, that isn’t always feasible, and, for the closest foregrounds, it still doesn’t help enough. Sometimes, I’ll even stop down slightly (and then raise my ISO) if it’s a particularly difficult landscape.

Ultimately, you may have no choice but to focus stack your images. Take a series of photos at different focusing distances, then combine them together in post-production. At night, though, this is very difficult and time-consuming, and I strongly recommend against it unless you have no other choice.

Night Photography Lenses

NIKON D800E + 14-24mm f/2.8 @ 14mm, ISO 3200, 25 seconds, f/2.8

5) Conclusion

Nighttime photography is one of the most demanding ways to use your equipment, and not all lenses are up to the task.

Along with the expected image quality difficulties (sharpness, vignetting, and coma), you have to find a way to work with as little light as possible to create your images. The only tools at your disposal — shutter speed and aperture — will be pushed to the breaking point.

The chart above gives you a good idea of the ISO you’ll need for your setup, but that isn’t the only that information that matters. You should also pay attention to depth of field; at night, there won’t be much.

Clearly, nighttime landscape photography is a tricky job. However, it’s also well worth the effort. The first time you bring back a good photo of the Milky Way or a starry sky, you’ll be hooked — I know I was. And, although the lenses you use certainly matter, they aren’t everything. The hardest part is just staying out at night in the first place. When you do, good images will follow.

The post What Makes a Good Night Photography Lens? appeared first on Photography Life.

via Photography Life http://ift.tt/2hulKAP

How to Make Sharp Watermarks in Lightroom

One of the biggest frustrations with Lightroom’s built-in watermarking tool, is the fact that it often ends up making watermarks appear too soft / blurry, especially when extracting smaller JPEG images. This happens due to Lightroom’s rather poor implementation of watermarking on images. Not only does Lightroom seem to apply sharpening to images before adding a watermark, but also, the resizing algorithm used by the software appears to be pretty bad. No matter what image dimensions one chooses, Adobe has not provided a way to turn off scaling in Watermark Editor, even if one provides transparent PNG / GIF images with the correct dimensions. For this reason, many photographers end up using Photoshop for adding watermarks to images, which certainly does take more time and effort, but certainly delivers much sharper results in comparison. After seeing poor watermarking results, I decided to look into alternative methods to see if there is a way to make watermarks sharper using the same tools. After some experimentation, I came up with two methods that ended up working well and that’s what I am going to share with our readers in this article.

Take a look at the two images below – the “Before” image shows how poorly the watermark is added by Lightroom, whereas the “After” image shows how it can look if it is done right:

Please note that the methods discussed below are somewhat advanced and require specific software such as Adobe Photoshop (for the first method) and Illustrator (for the second method). For the second method, you will also need to download an open-source font generation software called FontForge.

Method #1 – Resizing Watermarks to Exact Dimensions

This method is probably the easiest one to implement, since you only need to use Photoshop to adjust your watermark. Basically, the idea is to adjust your transparent PNG or GIF image, so that it has exactly the same image dimensions as the output image. For example, if you have an export preset that exports images at 960 pixels wide, you will need to adjust your PNG / GIF image so that the image width is exactly 960 pixels. This way, Lightroom can be forced not to scale your watermark and it will appear as sharp as you make it from Photoshop.

Unfortunately, this method has a few serious drawbacks. First of all, you will need to create two sets of watermarks for each side of image if you want to be able to place watermarks in all four corners. Second, you will need to create watermarks for both horizontal and vertical images separately, or Lightroom will again revert back to scaling. And if you output in multiple resolutions, you will need to repeat the same process for the rest of them, which can quickly increase the number of watermark presets you have on your computer. The result is definitely worth the effort still in my opinion though, as your watermarks will look drastically better in terms of sharpness and quality compared to the poorly resized versions that Lightroom spits out by default.

Here is the full list of steps you need to run:

  1. Determine the desired image dimensions for both horizontal and vertical images. In this particular example, I will only run through horizontal images that I want to output at 960 pixel wide resolution.
  2. Open up your transparent logo in Adobe Photoshop. Make sure that the logo has a transparent background, as seen below:

    PL Transparent Logo White
    If your logo is white, it might be hard to see it due to the bright checkerboard pattern of the background. If that’s the case, you can easily change it by visiting “Edit->Preferences->Transparency & Gamut” and setting “Grid Colors” to “Dark”:

    Photoshop Transparency and Gamut
    Now it should be much easier to see the logo:

    PL Transparent Logo White Dark Background
    Note that we have not changed anything on the image itself – we simply made the transparent background appear darker. If your logo is dark, you can choose the lighter transparent background / checkerboard.

  3. Now determine how big the logo should be when exported at your desired image dimensions – that’s what we need to resize the logo to. For the image size example of 960 pixels wide that I am using, I will be resizing the logo to 100 pixels wide, basically around 10% of the total width of the image. Go ahead and press CTRL+ALT+I (CMD+ALT+I on Mac) on the keyboard and type the target size:

    Photoshop Image Size
    For the “Resample” algorithm, choose Bicubic Sharper, since we are reducing the image dimensions and want to keep it sharp while resizing.

  4. The next step is to fill up the resized logo with extra space to cover the lost dimensions. Press CTRL+ALT+C (CMD+ALT+C on Mac) to bring up the Canvas Size tool:

    Photoshop Canvas Size

    Put the desired image dimension under width (in this case it is 960 for me) and leave the height value the same – that one does not matter. Make sure to move the Anchor to the right, so that the watermark is moved to the right side of the canvas. Once you click OK, you should see something like this:

    Logo in Canvas

  5. The watermark image is ready, but there is one small step I recommend you take. If there is not enough space to the right side of the image, it is best that you leave a little bit there to avoid using the horizontal inset in Lightroom. Unfortunately, Lightroom will again down-size your logo if you use the Horizontal inset, so it is best to leave a little bit of empty space to the right of your logo. You can simply drag the logo to the left a little, or for consistency, I always prefer using the keyboard left button instead. Make sure to press the “V” key to switch to move tool, then after selecting the corresponding layer that hosts the watermark, simply press the left arrow on your keyboard to start moving the logo away from the right edge of the frame. I moved mine about 10 times, which is 10 pixels from the edge of the frame.
  6. Save it as a PNG file again by pressing CTRL+SHIFT+ALT+S / CMD+SHIFT+ALT+S (Save for Web) and choosing PNG-24 as file format. Make sure “Transparency” is checked:

    Photoshop Save for Web

    Give it a meaningful name like “960px Horizontal-Right.PNG”

  7. Repeat the above step, but this time put the Anchor to the left side when resizing the canvas. This one will be used for the left side, so save it just like above with a name like “960px Horzontal-Left.PNG”
  8. Now that you have both files for the horizontal images, let’s go ahead and create the necessary templates in Lightroom. Fire up the Watermark Editor by going to “Edit->Edit Watermarks…”:

    Lightroom Watermark Editor Graphic

    Choose “Graphic” and pick the first file that we have just created. In my case, I used the “960px Horizontal-Right.PNG” image. Scroll down to “Watermark Effects” and make sure to select “Fit”. This way, nothing will get up-sized or down-sized, since the horizontal dimensions of the watermark match the dimensions of the image. Under “Inset”, do not touch the Horizontal value, but feel free to change the Vertical value, since you probably want to move it up or down a little depending on where on the right side you are placing the watermark.

  9. Save the Template with a meaningful name such as “960px Horizontal Bottom-Right”:

    960px Horizontal Bottom-Right

  10. Repeat the last twp steps above for the top of the image, then repeat it for the two left sides and give all three appropriate template names.
  11. You are all set! From here, all you have to do is export horizontal images and pick the right template to specify exactly where your logo is going to be.
  12. If you are planning to extract vertical images, repeat all of the steps above for the vertical images as well and name templates like “960px Vertical Bottom-Right”.

Here is the final result, with a crisp watermark applied to the exported image:

Watermark looks sharp after using one of the methods

Without a doubt, the above process is much more complicated than it should be. Adobe’s software design team should really get a slap on their hands for not making it possible to choose a watermark with exact dimensions and not scaling it in any way. There should be a way to add a simple option called “No Scale” under “Watermark Effects”, which allows the end user to choose a watermark and apply it to any side of the image, making “Inset” work by simply shifting the watermark by pixels either horizontally or vertically. It would save so many steps for sure!

Method #2 – Creating a Logo Font

The second method, which is a bit more complicated as it involves the process of creating a font and then installing it into your computer, is a much better approach compared to the first one, because you do not have to deal with different image sizes and dimensions – you could literally just have 4 templates in your Lightroom to make watermarks, irrespective of the image dimensions. The initial process is somewhat painful, but if you are ready to commit some time, you will be very happy with the results.

The only issue with this method, is that you cannot have different colors in your watermarks, since fonts can only be of one particular color! In my case, it is not an issue, but if you have different colors and tones that you want to preserve, your only bet is to use the first method.

Basically, the idea is to create a true-type font with your logo placed in one of the characters (like “A”, for example). Once the font is created and installed on your computer, you no longer have to use a Graphic watermark style. You can use “Text” and simply type the character that holds your watermark. Since fonts are vector-based, increasing or decreasing font size will not result in up-sizing or down-sizing of images, preserving sharpness in watermarks every time you use them.

Let’s get started:

  1. First, if you do not already have an SVG-formatted file containing your logo, make sure to convert it from your .AI or .PNG format logo file using Adobe Illustrator. Fire up Illustrator, then open up your logo. If you already have your logo in Illustrator vector file (.ai extension), all you need to do is save your file in SVG format. If you only have a transparent .PNG file, you will need to open it first, then run Image Trace in order to convert the logo to vectors that you can later export. Go to “Window->Image Trace” to bring up the Image Trace panel:

    Illustrator Image Trace
    Select “High Fidelity Photo” for the best quality vector conversion, then uncheck “Preview” and click “Trace” to start the process.

  2. After tracing is done, you will be able to view the tracing results from the top drop-down panel. Take a look at “Outlines” and make sure that your logo edges look good. If you are happy with the result, click the “Expand” button to convert the tracing object into paths.
  3. Now your logo is converted to vector paths! If you select the Direct Selection Tool (A), you will be able to select the different vector paths, as shown below:

    Illustrator Converted Vectors
    As you can see, I was able to select the “.com” part of the logo – those blue dots indicate different vector paths.

  4. The last step in Illustrator is to get rid of the potential borders of the image that got added as a result of the image trace. Simply click on the blue edges as shown below, then press the “Delete” key to get rid of them:

    Illustrator Delete Outer Borders
    Also, go through any of the areas that need to be removed for transparency – if you have letters such as “o”, you will need to clean those middle areas up, so that the vector paths only cover the actual edges of the letters and not their insides.

  5. From here, all we need to do is save the image to SVG format. Go to “File->Save As”, then click the drop-down menu where it says “Save as type” and pick SVG (*.SVG). Give your file a name like “Logo.SVG” and click “Save”. A window will pop-up that looks like this:

    SVG Save Options
    Just choose the defaults and click OK. The vector file is ready to be imported into a font creation tool. You can now close out of Adobe Illustrator.

  6. Download and install the open source font creation tool called FontForge from here. Fire up the software, then when the first window comes up, click the “New” button on the bottom to create a new font:

    FontForge New
    You will see a new window that looks like this:

    FontForge Main Screen

    If you have never used FontForge before, the software can look a bit complex to use. However, we only need to perform a couple of tasks here – mainly import the SVG file into one of the characters, then generate a TTF file.

  7. Put the logo into one of the characters – simply double click any of them. I went ahead and picked capital letter “A”. You will see another window pop-up that looks like this:

    FontForge Character Screen

    Go to “File->Import”, then click on the “Format” drop-down and choose “SVG”. Double-click on the “Logo.SVG” file you previously created from Illustrator:

    FontForge Import SVG
    You will now see the vector paths appear in the main window, as shown below:

    FontForge SVG Imported

    Everything looks good, so you can go ahead and close out of this window to return to the main window.

  8. If you click on any other cell, you should now see that the character you previously chose now contains your logo, which is exactly what we want! From here, we now need to give the font description and name and save it. Go to “Element->Font Info” (CTRL+SHIFT+F) and type the necessary information such as Fontname, Family Name, etc:

    FontForge Font Information

    I chose “PL-Logo” for the “Fontname” field and “PL Logo” for “Family Name” and “Name for Humans” fields. You can name your font anything you want – just don’t use any special characters or a space in the “Fontname” field. Once done, click the “OK” button on the bottom of the window.

  9. We are done with font logo creation! Now let’s go ahead and save this font in TTF format. Go to “File->Generate Fonts” (CTRL+SHIFT+G), type the name of the font file name, then pick “TrueType” from the drop-down menu:

    FontForge Generate Font
    Go ahead and click “Generate” to generate the TTF file.

  10. The font file is now created, so let’s go ahead and get it installed in the operating system. In Windows, all you have to do is right-click the TTF file and click “Install” to get the font installed. If you are a Mac user, you can double click the font file to open up fontbook. From there, just click on “install font” on the bottom of the preview to get the font installed.
  11. The font is now installed in your operating system, but Lightroom does not know about it. Make sure to close out of Lightroom and reopen it.
  12. After Lightroom relaunches, go to “Edit->Edit Watermarks”. Choose “Text” as the Watermark Style, then click on the “Font” drop-down area and find the font that you have previously installed. For me, it was “PL Logo”. After you pick the phone, type the character in the bottom-left field that stores your logo. In my case, I saved the logo under capital “A”, which is exactly what I typed:

    Watermark Editor Logo Font
    Make sure you de-select “Shadow”, so that shadows are not added to your logo. The cool thing is, now if you wanted to, you could make your logo in any color, including black and white – just select the appropriate color and you will be good to go. Since it is a font, it will always work with any color 🙂

  13. Just like with any other font, you will be able to indicate Opacity, Inset and Anchor locations. Don’t forget that the font size is set through the “Proportional” Size. In my case, I had to set it to 14 to make it about the same size as with a PNG file:

    Watermark Editor Watermark Effects

    Just like it is explained in my How to Watermark Photos in Lightroom article, go ahead and create templates for each corner of the frame.

Here is how the watermark looks when using the above settings:

Watermarked Image with Font Logo

Watermark added using logo embedded into a TrueType font.

Not bad – much better than what Lightroom did to the watermark when it down-sized it via a PNG file!

From now on, you will be able to create watermarks of any size on any part of the image, whether it is a horizontal or a vertical image, which is really neat! Now that you have the font with your logo on it, you can also use it in Photoshop or any other application – it will always be available for your use, even in documents. Just keep in mind that other people won’t be able to view your documents with your logo, unless they get the TTF file from you and get it installed on their computer.

Hope this article was useful – let me know if you have any questions or feedback in the comments section below!

The post How to Make Sharp Watermarks in Lightroom appeared first on Photography Life.

via Photography Life http://ift.tt/2hutRNQ