Jervis 

376 creative works found

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  Jervis Bay
  by Will Barton

  Dawn over Jervis Bay, south coast of NSW.

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  Jervis Bay
  by Will Barton

  Another from Jervis Bay, NSW

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  Hyams Beach
  by Will Barton

  Hyams Beach on the shores of Jervis Bay, NSW, claims to have the whitest sand in Australia, a claim hotly contested with various beaches of Far North Queensland.

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  The Point Perpendicular Lighthouse
  by Lee Burgess

  Jervis Bay, NSW

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  Jervis Bay
  by Will Barton

  After purchasing some new software for HDR, I went back and had a look through some old photos. I need your opinion on whether this should replace the original The original: / Thanks! Well I’m still undecided, so for the time being both will be up! I’ll mull over it a while longer though. Thanks again for all your comments!

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  Jervis Bay
  by Rosina Lamberti

  jervis bay / / jervis bay / An area of beautifu white sands and pleasant bushwalking. / Located about 170 km from Sydney, Jervis Bay is both an inlet and the basis of the uniquely beautiful Booderee National Park / History / After Federation occurred in 1901 plans were set in motion to create a city (ultimately Canberra) within an independent territory (the ACT) wherein the new Federal Government could sit. Work began in 1913 and, in 1915, the Royal Australian Naval College opened at Captain Point under Federal administration as HMAS Creswell. The Royal Australian Naval College no longer exists as it was absorbed into the Australian Defence Force Academy but some officer training still occurs at Jervis Bay. A majority of the original buildings remain. jervis bay / / jervis bay / An area of beautifu white sands and pleasant bushwalking. / Located about 170 km from Sydney, Jervis Bay is both an inlet and the basis of the uniquely beautiful Booderee National Park / History / After Federation occurred in 1901 plans were set in motion to create a city (ultimately Canberra) within an independent territory (the ACT) wherein the new Federal Government could sit. Work began in 1913 and, in 1915, the Royal Australian Naval College opened at Captain Point under Federal administration as HMAS Creswell. The Royal Australian Naval College no longer exists as it was absorbed into the Australian Defence Force Academy but some officer training still occurs at Jervis Bay. A majority of the original buildings remain. jervis bay / / jervis bay / An area of beautifu white sands and pleasant bushwalking. / Located about 170 km from Sydney, Jervis Bay is both an inlet and the basis of the uniquely beautiful Booderee National Park / History / After Federation occurred in 1901 plans were set in motion to create a city (ultimately Canberra) within an independent territory (the ACT) wherein the new Federal Government could sit. Work began in 1913 and, in 1915, the Royal Australian Naval College opened at Captain Point under Federal administration as HMAS Creswell. The Royal Australian Naval College no longer exists as it was absorbed into the Australian Defence Force Academy but some officer training still occurs at Jervis Bay. A majority of the original buildings remain. jervis bay / / jervis bay / An area of beautifu white sands and pleasant bushwalking. / Located about 170 km from Sydney, Jervis Bay is both an inlet and the basis of the uniquely beautiful Booderee National Park / History / After Federation occurred in 1901 plans were set in motion to create a city (ultimately Canberra) within an independent territory (the ACT) wherein the new Federal Government could sit. Work began in 1913 and, in 1915, the Royal Australian Naval College opened at Captain Point under Federal administration as HMAS Creswell. The Royal Australian Naval College no longer exists as it was absorbed into the Australian Defence Force Academy but some officer training still occurs at Jervis Bay. A majority of the original buildings remain.

• Dodging and Burning
  by Alison Johnston

  For some reason, people go a funny shade of green when one starts talking about Dodging and Burning …. nothing to fear at all. I’ve ju…

  For some reason, people go a funny shade of green when one starts talking about Dodging and Burning …. nothing to fear at all. I’ve just realised that I haven’t got any little images to insert in this tutorial …. I’ll make them later. Dodging and Burning is not difficult at all, when you realise that 20 low opacity strokes are better than one huge Dodge or Burn stroke. D&B is used to create precise shadow/highlight and can certainly add enormous amounts of lift/punch to an image. Most people would duplicate the layer to do some D&B on, and this is fine until you are working on a 10/15/20mb file and everytime you duplicate the layer the image size doubles. Unless you have a huge amount of RAM, your computer will slow down and sometimes even freeze. Is there a solution …. of course there is, its photoshop. So you’ve been working on an image, and naturally taken snapshots along the way. Now you decide that you would like to do some D&B. Click on the new layer icon on the bottom of the layers palette. Go to Edit>Fill>50%gray>click ok and that’s it LOL, nah, only kidding. Change the blend mode of this layer to soft light. Go grab the Burn tool (example), select whether you want to burn the highlights, midtones or shadows from the top menu and I would suggest quite strongly that you use a very low opacity – around 10% to start out with. I usually use a very soft brush for this and set the size according to what I’m going to be doing. The sheer beauty of using the 50% gray layer set to soft light is that you can simply turn the layer on and off to view your progress – don’t like what you’ve done … trash it and start again. Use exactly the same principle for the Dodge tool. Yet another way to D&B. Click on the new layer icon on the bottom of the layers palette, change the blend mode to soft light (without filling it with 50% gray), select your brush tool and make sure the foreground colour is set to black. Lower your brush opacity in the top menu bar to round about 10% again and start brushing where you want to Burn (darken) the area. Do exactly the same thing, only with white as the foreground colour to do some Dodging (lighten). Yet another interesting take on the above is that you can D&B with colours. Try it … grab your f/ground colour as red (example), check the opacity is down and Dodge or Burn away with that colour. Perhaps even pick a dark red (example) from the image itself to use as the Burn colour. Have fun, and don’t be afraid to roll up your sleeves and get stuck in. The sheer joy of photoshop is all the fun you can have with it.

• Making Fog/Mist in Photoshop
  by Alison Johnston

  You may want to add some atmosphere to an image in the form of fog/mist and we can do this quite easily in Photoshop. First I’d like t…

  You may want to add some atmosphere to an image in the form of fog/mist and we can do this quite easily in Photoshop. First I’d like to thank MARK GERMAN for letting me use his Silence Lane image in this tutorial. If you don’t have an image to try this tutorial out on, you will have to contact Mark to ask his permission to use it. Here is our start image Our image with one application of fog/mist And I added another layer of fo/mist because I wanted to cover the bottom right of the image a little more. A larger view of the finished image is available HERE So lets get started. Open your image, duplicate and close the original. I want you to click on the new layer icon at the bottom of the layers palette, or you can go to the top menu bar and go Layer>New>Layer, or press Ctrl+Shift+n. Making sure the new layer is active and that your foreground/background colours are set to the default of black/white (press d on the keyboard if they aren’t, or if white is the f/ground and black the b/ground, press x on the keyboard) go to the filter menu in the top tool bar and choose Render>Clouds. In this tutorial I have applied Render>Clouds once, if you would like some variation on this press Ctrl+f on the keyboard to repeat but you will also notice that the clouds appear differently each time. To get some rather different effects, instead of pressing Ctrl+f – press Ctrl+Alt+f ....... try it and see :-) So now we’re going to give the clouds a little blur. Go to Filter>Blur>Motion Blur and you can set the same amounts as I have in the image below. Most of what you do from now on will vary according to each image, and what it is you are trying to achieve. At the bottom of the layers palette you will see a little icon with FX on it, 2nd from left, I want you to click on that and choose Blending Options from the menu – alternatively you can go to the top menu bar and choose Layer>LayerStyle>Blending Options – and a dialogue box will appear like the one in the image below, I’ve highlighted the part of the dialogue box that we will be using next – ‘Blend If’ Make sure that ‘Blend If’ in the highlighted red area is set to gray. You’ll notice that the sliders have a triangle at each end (black and white) we will be concentrating on the black end, so don’t worry about the white slider. You’ll also notice that the triangle shape has a small white area in the middle of the slider, this is so that we can split the slider, which we are going to do now. Hold down the alt key (option for mac) and put your cursor to the right of the white area then click and drag the slider, it should now have split into a half triangle. Looking at the image below, move this half of the traingle to 125, then come back and move the left part of the half triangle to 25. When you’ve done that, click ok. Now I want you to press Ctrl+t on the keyboard to bring up the Transform tool, or you can go to Edit>Transform>Scale – you will have to decide at this point where you want the fog/mist to be and bring the top down accordingly, as I’ve done in the next image. What you will have to do next is throw in a gradient to take away the harsh transition. Making sure your f/ground and b/ground are set to the default, select the gradient tool and on the top menu bar make sure that black to transparent is selected. You need to do the gradient from the top to the bottom, BUT not from the top of the image, from above the harsh line of the clouds layer. You may have to do this more than once, just keep trying until you get a nice transition. In the image below I did the gradient 4 times till I got it how I wanted it. I then took the opacity of the layer down to 70%. I then duplicated the clouds layer by dragging it to the create a new layer icon at the bottom of the layers palette and with that layer selected I grabbed my move tool from the side menu bar and moved it up until it was were I wanted it. Now I have a harsh transition at the bottom of this clouds layer, so do the same as above except start at the bottom of the harsh line and work upwards with your gradient. A bit of practice will make this a very simple task. I changed the opacity of this clouds layer to 60%. The image below shows the final work, which btw is different from the image at the top of this tutorial because I couldn’t remember what I had done LOL :-) And the larger image HERE Remember that all of these steps can be used in various ways on different images, not just to create fog/mist and they can be adapted to create the type of fog/mist you want – it is the process that is important.

• Grunge Text/Type
  by Alison Johnston

  So lets make some grungy text. You may never need this, but it’s simple to do … so why not! The image below is the only image we ar…

  So lets make some grungy text. You may never need this, but it’s simple to do … so why not! The image below is the only image we are going to be using today, but you will need the larger file, so clicky on THIS link. Copyright is mine – yada, yada. Open Photoshop and create a new file 800px X 600px, background set to white. Open the larger image (which you will have saved to your computer) and with your move tool selected and the shift key held down, drag the tree image over to your new file. Holding down the shift key will centre the image for you. Working on the trees layer Go to Image>Adjustments>Threshold and I want you to take the slider to the left until it reaches 80 (see image below). We’re aiming to get a lot of white in the image. Next we’re going to add the type. Select a foreground colour, I used Red. Grab your type tool and select Horizontal type – then go ahead and type something, I used RedBubble. (Arial Black > Regular>100pt>Sharp – for those who may be interested) Move your text to where you would like it to be, you can place it similar to where I placed, but it will need to be over some of the black. Once you’ve played around with this a couple times you’ll get a general idea of where the text should go. Before we go any further, we have to rasterize the text. You can either right click on the text layer and choose rasterize type or go to Layer>Rasterize>Type. Now the fun begins :-) click on the trees layer, the one you did the threshold adjustment on and select your magic wand tool, check that the contiguous box on the top menu bar is unchecked and select some of the black. Because you have the contiguous box unchecked, the magic wand tool will select all of the black areas. Now, hide the trees layer by clicking the little eye icon and click on the type layer, then press the delete key. Go to Select>deselect or press ctrl D on the keyboard. And there you have it, some grungey type text. Use your move tool to position the text wherever you want and you can drag the trees layer to the little garbage bin icon … cos you don’t need it anymore. I’ve cropped my final image. Larger file is HERE Enjoy playing, and if I haven’t made anything clear just ask me.

• Working Smarter Using Adjustment Layers In Photoshop
  by Alison Johnston

  Adjustment layers are a great way to work in Photoshop, they give you the flexibility to go back and alter adjustments on the fly – makin…

  Adjustment layers are a great way to work in Photoshop, they give you the flexibility to go back and alter adjustments on the fly – making sure that you don’t have to lose any of the work you have done by undoing steps to correct an error. Another positive about adjustment layers is that they add very little size to your file, which is a bonus if you don’t have 8 gigs of RAM at your disposal :-) I’m going to give you a kind of example here using a Hue Saturation adjustment layer to add colour back into an image. What you need to bear in mind is that it applies to all of the adjustments that are available under adjustment layers. Adjustment layers can also be useful when using blending modes on a single image without having to duplicate the image and add to the file size. Try this one yourself. Open an image, duplicate it of course :-) and close the original – now go to the little ying yang looking symbol at the bottom of the layers palette and click on it to bring up the menu – click on levels for now. When the dialogue box opens, click OK without making any adjustments, then pick a blend mode …. lets say multiply …. your image will now have used itself, to darken itself …. or you could say that you have used the image to darken the image without having to duplicate the background and then apply a blend mode. Take a look at your file size ….. You can also turn the adjustment layer on and off, reduce the opacity, add a mask to darken certain areas, use a gradient to edit the mask or perhaps a brush. There are several ways that you can do just about anything in Photoshop, and bringing back colour into an image is no exception. By default photoshop has the history set at 20 states of undo, so if you reach 21 states any previous work will not be available to go back and edit without losing all of the work you have done. You can change the amount of history states available to you by going to Edit>Preferences>Performance and at the top right hand side you will see History States | Cache Levels – just change the history states to a higher amount if you like. Using adjustment layers, rather than permanent adjustments, will give you much more flexibility in your editing capabilities. Getting into the habit of saving your image as a .psd file right from the outset and then remembering to ‘save’ along the way … press Ctrl + S or go to the top menu bar and press ‘save’, will make sure that you are never disappointed if PS freezes or your computer has a hissy fit and dies. Lets get back to the tut :-) I’m going to add some colour back into an image that I have used a Hue/Sat adjustment layer to desaturate. Why not just go to the top menu bar and use Image>Adjustment>Desaturate you might be asking – because it is a permanent adjustment – one that I may decide that I don’t want there in the future and doing this change with an adjustment layer gives me the option of turning it on and off using the little eye icon, going back in and adding some saturation back into the image etc., If I try to do that 25states later using the permanent adjustment I will lose all of my later work. There are also several ways to add colour back into an image. You can start with your B&W image, place a new layer above that, choose a colour and fill the layer, change the blend mode to colour, soft light etc., add a mask, invert the mask, and then start adding back in the colour – but what if you decide that you don’t like that colour ? You then have to choose another colour, lock the transparent pixels of the layer, then fill with the new colour. You can also create a new blank layer, choose a colour to paint with, change the blend mode of the brush from the top menu bar and paint away – but still, if you decide you don’t like the colour then you will have to go through the process for the first method. What if you could just move a slider to create a different colour ? Now wouldn’t that be a whole lot simpler ? Here is our start image, just click through for the larger image. The first adjustment layer we are going to use is a hue/sat and we are going to desaturate the image. What you’ll notice in the below image is that I forgot to take a screenshot of the desaturated image and had to go back and take one after I had made several adjustments. Its as simple as turning off the adjustment layers. Next you are going to use a hue/sat adjustment layer again, but this time you are going to check the colorize button when the dialogue box comes up. Then go and adjust the sliders till you get a colour that you like. This is probably the most time consuming part of this adjustment until you become familiar with where the colours lie, and using the saturation and lightness adjustments. I chose a blue colour that was similar to the original image, you can choose whatever colour you like. Obviously that isn’t quite what we want to happen here :-) Adjustment layers come with a mask – that’s the little white box on the right hand side of the adjustment box – click on the mask to make it active and then press Ctrl + i on your keyboard to invert the mask to black (hide all) white is reveal all. You could also go to Image>Adjustments>Invert – just make sure that the mask is active. Grab your paintbrush and start painting back in the pants. You should now have something similar to the image below. I haven’t painted back in all of the pants, I’m just showing you how to achieve the adjustments. Just say that you had taken this image in B&W originally, and I pop over to your place and notice what you’re doing and say ….. the pants on that scarecrow weren’t blue :-) The easy way to choose another colour is to double click on the adjustment box itself – not the layer mask – and the dialogue box will open and you can adjust the colour to something new. What I would normally do when re-colouring an image is duplicate the blue layer, turn off the visibility of the original blue layer and then make the adjustment to the copy. This way you will still have the choice of reverting to the blue copy if you decide you want that one instead. In fact, you could make as many different coloured trousers/pants adjustment layers as you wanted. When doing something like this it is wise to get into the habit of naming the adjustment layers. You can do this by double clicking on the text next to the mask and renaming this what you want. You can see in the image below that I have carried on with a few more adjustment layers and named them. I’ve also done 3 different shades of red for the jacket, shoes and pocket on the pants. I would then do a different red for the scarf. I’ve also done the hair and the flowers, both of these more need more refining to make them look realisitic but I would do the refinements on adjustment layers. I’ve highlighted the file size at the bottom of the image. You may also notice as you progress with your design, composite, colourising etc., that the adjustment layers can start to get out of hand. This is where Grouping layers together can come in very handy. Select which adjustment layer you would like grouped together i.e. in this particular image you might group together the clothing as I have done – although I accidently added the hair and shoes to the group and couldn’t be bothered going back and grabbing another screenshot – so just ignore those 2 layers :-) Click on an adjustment layer then hold down your Ctrl key to select the next one etc., If your layers are one above the other you can click on the top one, then shift click on the bottom one to select them. Next go to the little downward triangle near the top right hand side of your layers palette, and from the menu select the option ‘New Group From Layers’ Each of the layers you chose will now be in a folder which you can name, I used Clothing in the example below. All you have to do now is open that folder using the little arrow to the left of the folder to have access to the adjustment layers, but more importantly you can still edit each of those adjustment layers. And that’s it really. Remember to save often while you are working on a file, as I said at the beginning of this.

• 

  30 meters
  by LeanderWiseman

  Looking up from 30m towards the sun, you can see divers ascending the wall to the boat. This beautiful temperate reef at Bowen Island has a series of vertical walls, covered in colourful sponges and bryzoa. The sandy bottom at around 35m is a foavourite gathering place for Port Jackson sharks. Jervis Bay Marine Park, Australia

• Etched Glass Effect in Photoshop
  by Alison Johnston

  You can make this an etched glass effect, or, by inverting the filter, make it appear as though the shape/type/whatever is moulded in the…

  You can make this an etched glass effect, or, by inverting the filter, make it appear as though the shape/type/whatever is moulded in the glass. Because my glass is light, I will be using a black filled shape. If your bottle or glass is dark, the type/shape/whatever, would need to be white. So lets get straight on with it. You can click through on my glass image below to get the larger start image, or you can use one of your own. Just remember that any settings I use are relevant to this file 720 X 1000 @72dpi. Your first step will be to create a new layer above the b/ground layer and then fill it with white … turn off the visibility of the layer by clicking on the little eyeball icon next to the layer. I’ve chosen the ‘Flower Oranment 2’ which is a Photoshop default shape, and I’ve drawn it on the glass …. see image below. Make sure that you are working on the Shape Layer (or type – making sure the spelling is correct) and go to Filter>Blur>Gaussian Blur, a small dialogue box will appear asking you to rasterize the shape or type, click OK to make that happen and then choose a small amount of blur. I have used 2 pixels on this particular image … which might be a tad too much …. we’ll see. Next you are going to create a flattened copy of the image and save it to your desktop…or somewhere that you will remember, because we are going to be using it shortly. Go to Save As and when the dialogue box appears, make sure that your uncheck ‘layers’ and check ‘copy’ See image below. Now, duplicate the original b/ground layer and turn off the visibility of the shape layer and the layer you filled with white. Working on the duplicate b/ground layer go to Filter>Distort>Glass and the Filter Gallery dialogue box will appear. Look at the right hand side of this box and notice where it says Texture, click on the small arrow and a small box will appear that says load texture, click on this and load the file that you previously saved. As you can see, I called mine Flowerdistort. You can fiddle with the Distortion and Smoothing, but you will have to leave the Scaling as is. You can also check and uncheck the Invert box to see which variation you prefer. Once you have the settings as you like click OK to make it happen. And here is the image with Inverted checked. And that’s it. Fiddle around with the settings a bit till you get what you want, and remember that if the bottle, glass etc., is dark you will need to reverse the colours i.e. the layer will be filled with black and the shape or type would be white.

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  Ruins at Cape St George Historic Lighthouse
  by Marilyn Harris

  Blossom’s_Photo_Gallery Ruins at Cape St George Historic Lighthouse Booderee National Park, Jervis Bay, ACT. In 1770, Captain Cook sighted the bay and named it St George’s Head (it was St George’s Day April 1770) and called Point Perpendicular ‘Long Nose’. In 1791, the bay was named ‘Jervis Bay’ by Lieutenant Bowen of the Atlantic in honour of Admiral Sir John Jervis under whom he had served. Construction of this sandstone lighthouse began in 1854, and the elegant structure was completed in 1856. Unfortunately the lighthouse was built in the wrong spot, and it came to be regarded as a navigational hazard, resulting in its partial demolition in the early 1900s. Harriet Parker, the daughter of an assistant lighthouse keeper, was accidentally shot dead by a friend when they were looking for a horse near Green Patch in 1887. Her grave is in the Green Patch camping area. The ruin of Cape St George lighthouse is perhaps the most significant European site in the Park. The ruin was listed on the National Estate Register in 1981. The listing is in recognition of the ruin’s important setting, stonework and as a relic of early European occupation. In the early 1880s, Jacob Ellmoos established what appears to have been the first European settlement, other than the lighthouse, in the Jervis Bay Territory. He selected 120 acres (48 hectares) on the eastern shore of Sussex Inlet, where he and his family set up a fishing enterprise and farm. In 1890 the Ellmoos family opened a guesthouse there, named Christian’s Minde in memory of Jacob’s brother Christian who had died in 1888. This historic building, although still standing, no longer serves as a guesthouse.

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  She Sells Sea Shells by the Sea Shore
  by Marilyn Harris

  Blossom’s_Photo_Gallery She Sells Sea Shells by the Sea Shore ============================================== / Sold a Laminated Print – (271mm x 203mm) ============================================== / New South Wales Jervis Bay National Park, New South Wales.

• Another Portrait Effect In Photoshop
  by Alison Johnston

  I think this is one of the quickest and easiest ways to get a nice portrait in Photoshop. Again, it isn’t beauty retouching. Unlike the…

  I think this is one of the quickest and easiest ways to get a nice portrait in Photoshop. Again, it isn’t beauty retouching. Unlike the Dreamy Glow effect this should :-) be a little more realistic. You can use the image here to start with or use one of your own. Once you have the image open, duplicate it and then you are going to run the Surface Blur filter. If you are working with a version of Photoshop prior to CS2 you are going to have to use the Median filter, this filter isn’t quite as good as the Surface Blur filter but you should still be able to achieve a similar result. I’ve divided my image into two so that you can see what is going on – don’t you do this :-) unless you want to of course. You are looking to keep the lips, teeth, eyes to a certain degree – see image below. If you are working on the same image you can just punch in the same numbers. Still working on the blurred layer, hold down the Alt key and click on the Add Layer Mask icon at the bottom of the layers palette. This will make the mask black (hide all) which is exactly what we want, because we are going to brush back in the Surface Blur. Make sure your f/ground colour is set to white and you have a comfortable size soft edged brush – start painting back in the face avoiding the eyebrows, eyes, mouth and teeth. If you make a mistake, just switch your f/ground to black by pressing x key on the keybaord, fix it, press x again to switch back to white. If you want to make sure that you have painted back in every bit of blur, Hold down the Alt key and click on the mask this will give you a B&W version – see below – and you can fix it from there. Alt click on the mask to take it back to the normal view. I’ve taken the opacity of the surface blur layer down to 80%, you can choose whatever you want. Normally, this is the time where you would start evening out the skin tones, but you’re not going to do that :-) Before you go any further, rename the layer you just did the surface blur on to ….. hmmm …. Surface Blur. Making sure that layer is active, hold the Alt key and click on the new layer icon at the bottom of the layers palette – a small dialogue box will appear. If you don’t change the mode in the dialogue box, you won’t get the ‘Fill with soft light neutral colour 50% grey’ Now you’re going to pick a colour from the original b/ground to use on the face – so, with a soft edged brush selected hold down the Alt key and the brush will change to the eyedropper tool – once you have the colour selected just release the Alt key to go back to the brush. I used R-192 G-141 B-121. This is going to look terrible when you first brush it on – panic not – just dial the opacity of the layer down to about 40%. You will have to be quite careful with this layer, remember you are not working on a mask. The image below has the opacity at 100% and is not completely covered so that you can see what is happening. Turn the opacity down and complete the skin. The image below shows the completed colour with the opacity at 40% You can try some things now, like reducing the opacity of the surface blur layer … if you are using this image try about 55% and you could stop here if you wanted to – but there is more. Leave the opacity of the surface blur layer at 80% for the moment and the colour layer at 40%. All skin has some texture in it and you are going to replace some of the texture that was wiped out with the surface blur filter. Hold down the Alt key and press on the new layer icon at the bottom of the layers palette – fill out the little dialogue box as you did earlier. Now go to Filter>Noise>Add Noise and use 5, Uniform, Monochromatic – press OK to accept. Now go to Filter>Stylize>Emboss and try an angle of -90, height 15, amount 100%. Next go to Filter>Blur>Gaussian Blur and on this particular image try a radius of 0.5 pixels. And there you have the texture for the new skin. Once you are happy with the portrait, flatten the image duplicate the layer change the blend mode to overlay and sharpen with the High Pass Filter – Alt click on the layer mask icon to get an inverted mask (black – hide all) and with a soft edged brush, brush back in the areas you want sharp. Try different opacity levels for the surface blur layer and the texture layer. I’ve gone ahead and lowered the opacity of the colour layer to 20%, left the blur and texture layers at 80% then used seperate layers created in the same way as you did before but without clipping them with the previous layer, to burn the eyebrows, eyelashes, eye makeup and hair – then did the same to use some dodge on the eyes and hair. You could also use another layer to slightly sharpen the image overall to give the skin a less blurred look, as I have in the image below.

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  Twisted
  by Alison Johnston

  More experiments with Filters in Photoshop

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  Three Blue Berries
  by Marilyn Harris

  Blossom’s_Photo_Gallery Three Blue Berries ============================================== / Featured in the Top 10 of Alphabet_Soup Best of B_Challenge ============================================== / “Green Patch”, Booderee National Park, Jervis Bay, (ACT) Australian Capital Territory. AS IS – Straight from the camera! Shutter Speed: 1/80sec / Aperture: F4.8 / ISO: 200 / Focal Length: 44.4mm Canon PowerShot A650 IS / 12.1MP – 6x Optical Zoom – 4x Digital Zoom

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  Tea Tree Lagoon
  by Geoff Coleman - Landscapes

  This is a shot of the lagoon at Greenpatch, Booderee National Park, Jervis Bay. I very rarely do shots during the day but this is one of those landscapes where strong light worked an advantage in bringing out the colours. The colour of the lagoon is from the tannin that leaches into the water from all the native tea tree bushes that line the creek as it empties into it. Combine that with shallow water and fine light sand and it really brings out the colour. Canon 30D / Tv: 1/125 / Av: f/8 / ISO: 100 / FL: 16mm

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  Seed Pods
  by Marilyn Harris

  Blossom’s_Photo_Gallery Seed Pods Booderee National Park, Jervis Bay, ACT, Australia. Canon PowerShot A650 IS / 12.1MP – 6x Optical Zoom – 4x Digital Zoom

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  wave
  by itsallgoodamanda

  I was hanging out over the cliff more than 200 feet above the water when I took this,I was trying to capture the surfers but they were just dots in my viewfinder,so I just waited for the wave to come in ,Mind you I had to sit down as I was getting sick,I am terribly afraid of heights and was getting really dizzy. / Featured in Sea /

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  Sunset Calm
  by Raquel Bourne

  Taken from Shelly’s Point, Jervis Bay, NSW While you wouldn’t know it by this picture, the waves were crashing up and spraying the camera and myself. This one was a 30 second exposure

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  Watch Out!
  by Raquel Bourne

  Had to watch the crashing waves here didn’t drench me. Taken from Shelley’s Point, Jervis Bay, NSW Sony A350 / focal length: 18mm / f/5.6 / 0.8 secs / ISO 100 / Cokin ND8 & ND8 Grad filters

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  Seal's Playground
  by Raquel Bourne

  While shooting here at Shelley’s Point, Jervis Bay, NSW a little seal was happily jumping around in the water below, he was just too quick for me to capture on camera, even looking at me once or twice as if daring me! Sony A350 / 18-70mm at 18mm / f/8 / 4 secs / ISO 100 / Cokin ND8 & ND8 Grad filters

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  Point Perpendicular Lighthouse, Jervis Bay
  by Evita

  Canon 350D / Point Perpendicular Lighthouse, Jervis Bay / / History The Point Perpendicular Lighthouse was established in 1899 to replace the inaccurately placed Cape St George Lighthouse. The original 1860 lighthouse had been built in the wrong position due to inadequate supervision by the authorities of the day. It was not visible to the northern approach at Jervis Bay and failed to warn of offshore reefs. Even though when the error was realised it was intended to show a light at Cape St George only as a temporary measure it was not until 1898, over 30 years later, that work began on its replacement on the northern side of the entrance to the bay. This tower is believed to be a “first” in New South Wales. It is erected on a flat concrete base and is the first tower to be constructed of concrete blocks – made on the ground – lifted into position, then cement-rendered on both the inside and the outside. This building technique eliminated the use of heavy scaffolding and shuttering which is necessary for the “concrete poured” construction of towers. Most of the stores and materials for the new lighthouse were landed at Bindijine Wharf, constructed in 1898, on Honeymoon Bay inside the sheltered side of Jervis itself. They were then carted by house and cart to Point Perpendicular. The original apparatus was vapourised kerosene, 100,000 cd with a range of 33 kilometres. The power was increased to 222,000 cd in 1909 and again to 316,000 in 1923. The light was converted to electric operation in 1964 with the installation of 2 diesel generators. When to light was finally replaced in 1993 the power was 1,200,000 cd. The new “lattice” style tower is solar powered and the lightstation has been demanned. / / / ACCESS: The lighthouse can be reached via Nowra and is at the end of the Beecroft Peninsula in the Jervis Bay Military Reserve. Access is restricted 110 days per year for gunnery practice. 200 metre walk from car park, then enter through side gate next to one of the keeper’s cottages. / Information From Lighthouses of New South Wales