All Articles

Custom Camera Calibration Profiles → Building ICC Profiles for Your Camera and Lenses for the Most Accurate Colours Possible Every camera sees colour a little differently. You have probably noticed it yourself if you have ever compared photos from two different camera brands. One might be a bit warmer, another slightly greener, while another produces deeper blues or more saturated reds. Even two cameras from the exact same manufacturer can render colours a little differently.

Photo by: Brett Beaudry

In-Camera Multiple Exposure Arithmetic Multiple exposure photography can be very experimental, but it does not have to be completely out of control/out of your hands. If you understand how the exposure of each frame contributes to the final photo, you can actually plan these composites quite precisely while you are still out shooting. So, let’s go through it like this → the basic idea is pretty simple → every exposure adds light. So if you combine several normally exposed fra

Photo by: Tommi Viitala

Micro-Contrast Mapping There are times where a photo is already pretty sharp, but it still feels a little flat. The edges are crisp and the focus is perfect, but surfaces like stone, skin, fabric, wood, or walls just do not have that sense of tactility and pop you remember seeing in person. This is where micro-contrast mapping can help you. Instead of adding more sharpening, the idea behind that is to identify and enhance the mid-frequency contrast in the photo, so basically

Photo by: Alexander Schönberg

Colour Temperature Bridging → Blending Different White Balance Versions to Fix Extreme Mixed Lighting Mixed lighting can be one of the most annoying colour problems to deal with in photography. You might have warm tungsten light coming from a building, cool blue-hour light outside, greenish fluorescent lighting in the back, and maybe even LEDs adding another colour temperature on top of everything. One global white balance simply cannot correct all of that at once. Colour tem

Photo by: Joao Miguens

Directional Noise Shaping → Making Noise Reduction and Grain Follow the Natural Flow of a Photo Noise reduction is usually treated as a global correction, so → increase the slider until the noise disappears, add some sharpening back, and move on. The problem is that photos are not actually made up of equally detailed surfaces. Water flows horizontally. Fabric follows folds. Hair runs in strands. Rain falls downward. Motion blur follows the direction of movement. Directional n

Photo by: Riks Le Grand

Frequency-Based Colour Grading Colour grading can sometimes start causing problems when you push it into areas full of fine texture such as skin, hair, fabric, foliage (aka leaves etc.), bricks, and other detailed surfaces can start to pick up strange colour shifts that make the photo feel very processed. Frequency-based colour grading approaches the edit differently. Instead of treating your whole photo as one layer, you separate broad colour and tonal information from fine

Photo by: Luke Takayama

Custom Highlight Recovery Curves When it comes to highlight recovery, it is often treated as a single slider → you pull highlights down, maybe reduce whites, and hope the bright areas come back. That works sometimes, but it is important to remember that not all highlights behave the same way by nature. A reflection on polished metal is very different from bright skin, a white cloud, or direct sunlight reflecting off water. If you recover all of them equally, your photo can be

Photo by: Ronny Zimmerman

Exposure Triangle Locking → Lock Two Exposure Variables and Change Only the Third for Faster, More Consistent Shooting! The exposure triangle gives us three main controls → aperture, shutter speed, and ISO. Normally, we are taught to balance all three depending on the available light. That is certainly important to understand, but always changing everything can slow you down. A much simpler way to go about it in many situations is what I like to think of as Exposure Triangle

Custom Film Emulation Curves → Building Your Own Film Look by Recreating How Real Film Responds to Light Film emulation often gets reduced to very simple presets. Faded blacks, warmer highlights, some grain, maybe slightly muted colours, and you are done. Yes that can look good already, but it does not necessarily behave anything like actual film. A cooler approach is to study the characteristic curve of a real film stock and recreate that response yourself. Instead of copyin

Photo by Jorge Suarez Reinaldo

Crop-Factor Depth-of-Field Correction → How to Adjust Your Aperture on APS-C and Micro Four Thirds for Full-Frame-Like Background Blur One of the biggest misconceptions about crop-sensor cameras is that they simply cannot produce the same background blur as full-frame cameras. That is not entirely true. You can get remarkably similar results, but you need to understand how sensor size, focal length, aperture, and shooting distance work together. The technique I want to highli

Photo by: Laurence Bouchard

Photo by: Peter Rask

Can you tell us a bit about yourself? Cheers everyone, my name is Peter. I’m originally from Denmark and I’ve been living in Tallinn for the past six years. Moving here wasn’t part of some grand plan, but it ended up changing both my life and my photography more than I expected. Tallinn is quiet compared to many capitals, especially outside the tourist areas, and that slowness seeps into how you move and how you observe. Over time, I’ve come to appreciate that pace. I don’t c

credits: Pixii French camera manufacturer Pixii has entered judicial liquidation, and things are not looking particularly good for the future of the company. Pixii has been dealing with financial problems for quite some time now, having entered court-supervised restructuring back in December 2025. The company was originally given until December 2026 to try to sort out its finances, but apparently that was not enough. On July 22, 2026, a French commercial court decided to move

credits: DxO DxO ViewPoint 6 is here, bringing AI-powered masking to the latest version of the company’s perspective correction software. The idea is to give you more control over which parts of a photo you want to correct, instead of having to adjust the entire frame. For example, if you are shooting several buildings and only one of them looks distorted, you can now correct that particular building without changing the others. The new AI masking works with ReShape Fusion, a

Can you tell us a bit about yourself? My name is Nina Papiorek and I am a professional street photographer based in Germany. I follow my passion for more than 20 years, with a focus on black and white, minimalism and street. My website: ninapapiorek.art How did you first get into photography? This story is very boring. I didn't have a family member who handed me a camera when I was a child. I discovered my passion entirely on my own; it wasn't until after I finished my studie