Peters
255 members found (show all)
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Peter Hill
Australia
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peter
Australia
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Lori Peters
United States
2781 creative works found
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Airbrush and mixed media Featured on the Home Page x2 / (Thanks Everyone!) Featured In Pop Art / (Thanks Kitsmumma) Featured in I ♥ Patterns / (Thanks Jemimalovesbigted & Natalie) Featured In C.O.R.E. / (Thanks Ushna & theyellowfury) Featured In Dream & Fantasy Art / (Thanks Ana & Hal Featured In # 1 Artists Of RedBubble / (Thanks Isa & Everyone!) “The inspiration for this piece came from within. I saw it in a vision. I suppose you could also say it’s my subconscious viewpoint on on life, mankind, nature and our current economic situation. Fate later connected me with Peter Oszmann and his succinct poem, it was like our work was destined for eachother’s” – Carrie Glenn “A Fish Out Of Water” / Poem by Peter. J. Oszmann Nature is wise, but Mankind… just bumbling fools. Learn from the living, watch water in motion, Don’t waste your time staring at small stagnant pools. Fish are content to live their life in water, Water is after all their life’s element. There’s no need for them to be an “achiever,” Living, staying alive… that’s accomplishment. But there was one fish wanting something “better”, He wanted “achievement,” he wanted a “first.” He leapt out of water, fins in quick flutter, Taking fast to the sky… but soon died of thirst… / / Peter. J. Oszmann © 2003 / (Check out his other written works they are a delight!) A.K.A. ” Alfred Fishcock ” For The Great Gregory For commissioned work you can contact Carrie at: carrie@carrieglennstudios.com and please visit Carrie Glenn Studios / CarrieGlennStudios.Com
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A Lego version of Diego Maradona’s ‘Hand of God’ goal during the quarter finals of the 1986 World cup between England and Argentina.
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Controversial home page and no more holidays for Peter
by RedBubbleHello all, Well it seems that I shouldn’t be allowed to go on holidays! For the last two weeks I’ve been hanging out on a beach in Fa…
Hello all, Well it seems that I shouldn’t be allowed to go on holidays! For the last two weeks I’ve been hanging out on a beach in Far North Queensland – boring my daughter with early morning photo sessions: And over these two weeks a couple controversies of have popped up on RedBubble that I feel need to be addressed. Principally, there was the homepage from yesterday: This homepage has been interpreted as anti Iraq war, anti American and anti US soldiers fighting the Iraq war. This was not the intention of the home page. The staff of RB take it in turns to select the home page and the creator of this particular home page wrote to me: My sole intention was to display a selection of silhouette / stencil t-shirt designs that were a credit to their creators. I apologize unreservedly to anyone who has been offended by this home page. Philosophically, we view RedBubble as a platform. It’s a platform for people to share their ‘creative genius’ (art / design / et cetera) – to enjoy the work of others – to exchange ideas – to be encouraged and inspired – to learn and grow. Our role is to provide and monitor this platform – it’s not our role to take sides. We strive to be impartial and independent. There are ground rules for RedBubble – and they exist to help us to cultivate an open and supportive environment. But when it comes to individual topics we want to ‘stay out of it’ except where things start to go outside of the guidelines. The home page was a mistake as it could be interpreted as an editorial endorsement of a particular view on the Iraq war. We make no editorial comment on the Iraq war – and we will be more careful to stay impartial with future home pages (and other places in the site that can be viewed as editorial). Again I apologize unreservedly for any distress we have caused with this homepage. The home page controversy also leads me to the broader issue of dealing with ‘hot’ topics on RedBubble. Some have suggested that we should ban any material that touches on politics or religion (hot topics). I don’t think this would be good for RedBubble – in fact I think it would diminish the site. Art can help us ‘see’ the world – it can help us to better understand the experience that is life. And politics, religion and other such ‘hot’ topics are often very important components of our world and our lives. As such I think they deserve to be the subject of artistic reflection – and subject to debate and discussion. To leave them off the site would be to create a conspicuous emptiness – and would limit the journey we might each be able to make with RB. However, I do acknowledge the importance of ensuring that ‘hot’ topics are handled and debated appropriately – and that we don’t have all the infrastructure for this at the moment. For example, there was a recent forum thread on homosexuality and the church – and this thread was unfortunately de-railed by constant, and in some instances highly offensive, generic attacks against Christians. Notwithstanding this setback, we are committed to the creation of the features, processes and culture that allow a controversial debate to be conducted on RedBubble – without the eruption of world war three. This is really hard to do on the Internet – because without verbal and non-verbal cues written words are easily misinterpreted. But we think it’s important. Please bear with us (and help us) as we work towards a better way of handling ‘hot’ topics. I think the next thing we’ll build is ‘moderated’ forum functionality – where selected ‘hot’ topics have every entry vetted before publication. But perhaps the most important thing we can all build is a culture that’s accepting of ‘hot’ topics. A culture where things can be debated and discussed without it becoming personal. A culture where openness is encouraged and patience is shown. A culture where we strive to respect different perspectives. Anyway – it’s midnight on my last day of ‘holidays’ and I’ve got to pack. The principal purpose of this journal entry was again to apologize for any offense caused by yesterday’s home page. As always your comments and reflections are welcome. -Peter
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What do you call the light that permanently imprints itself into the deepest corner of your cerebral real estate? Just a memorable one, divine, sublime? The star was going down fast, as it was just a matter of ‘to get it over and done with‘ a daily sunset routine – until that moment. Like it was switched on by some all powerful hand residing somewhere in the center of a kingdom of light, the sunbeam reached across the valley, bringing all the associated attributes with it, like joy and warmth, just for a few moments, before disappearing altogether. The blue cold haze drowned the beautiful Hawkes Bay valley, but not before the last ray of sun got there first. I was standing in awe … for a while in fact, still in disbelief. Review button and LCD screen confirmed it did happen. Sweet. I’ll treasure selfishly the melody of breeze passing through the treetops, the smell of golden grass and feel of fallen leafs under my feet. Not to worry, I left something to share with you. Here it is.
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The Easy Guide to Creating the Orton Effect using Photoshop - UPDATED
by Peter HillThe aim of this Guide is to provide easy-to-follow step-by-step instructions to achieving the Orton Effect without the necessity of bei…
The aim of this Guide is to provide easy-to-follow step-by-step instructions to achieving the Orton Effect without the necessity of being a Photoshop guru. I still call myself “new to Photoshop” and I have found a lot of tutorials on this topic assume a much higher level of knowledge than I have and are not very intuitive. I have revised the Tutorial to show a shortcut to the 2 Blending Option steps, which I only found myself after posting the original tutorial (doh), but I have left the long way as well, as you may wish to play around with the default settings applied by the short way. To achieve the Orton Effect you will be creating Layers, but don’t worry if you haven’t done this before. I hadn’t. The method I am about to describe is the simplest I have found. It’s not my method, but the description is all mine. When I have more time (yeh, right) I will revise this tutorial to include screenshots of the various steps. But for now, you might like to print this Guide and have it next to you while you create your first Orton Effect. I use Photoshop CS2 v9. The method described below originally came from someone using Photoshop Elements, so you can see this is not advanced stuff. The steps described below assume almost zero knowledge of Layering, and ignore other adjustments you might be making to the image, for example Sharpening the image before you start work on it (recommended). Step 1 Choose your image. Any image will do, you are just learning at this stage, but if you have that favourite flower shot or portrait – cool. Step 2 Open Photoshop. Open the image you have selected to be your first amazing Orton Effect image. Feel the excitement. This is your Background Layer. Step 3 Look for the Layer toolbox on the right hand side of the Photoshop work area. There should be a rectangular box with a small eye icon, a tiny thumbnail version of your image, and the word Background in italics. Right-click the word Background and select Duplicate Layer. A small box should immediately appear in the middle of your screen. It is asking you to Name the Duplicate Layer. Name this Layer Focus and click Enter. (Note: It doesn’t really matter what you name it, but Focus will do for our current purpose.) Step 4 There should now be a new rectangular box immediately above the original, and called Focus. (If there isn’t, stop, curse quietly, then try Step 3 again.) Pause now and look at the tiny eye icon. You will see that it is now the Focus layer on your screen, so this is the “copy” you are working on. OK, moving on ….. Right-click the Focus rectangular box and select Duplicate Layer again. This time when the naming box appears just click Enter because we will use the default name for this Layer, being Focus copy. Step 5 OK, now we are going to blend the Focus copy. There are 2 ways to do this – the long way and the short way. I will show you the long way first, just in case you want to go back and play with it after you get familiar with the process. Long way – Right-click the Focus copy rectangular box and select Blending Options. This will open a new box with lots of options. Ignore them for now. In the top part of this box you will find a window showing the Blending Mode and the default setting of Normal with a pull-down menu (A downwards arrow). Open the menu (left-click) and select Screen. Click Enter to close the box. OR Short way – look at the window which shows your layers. See the drop down menu at the top left, showing Normal as the default? Scroll down the menu and select Screen. The Focus copy layer should now have a bit of a washed-out look to it as a result of selecting Screen as the Blending Mode. (I have found that if the Screen effect still leaves a fairly good image, the Orton Effect will be enhanced. Too washed out and the Effect is diminished.) Step 6 Right-click the Focus copy rectangular box again, only this time select Merge Down (it’s near the bottom of the menu). This will collapse the Focus copy layer onto the Focus layer. Step 7 Right-click the Focus rectangular box again and select Duplicate Layer again. Name this copy Blur. Click Enter to close the box. Step 8 Now, find and open the Filter menu on the Tool bar running across the top of your screen. Select Blur. Another menu should open. Select Gaussian Blur (don’t ask). A new window should open. You will see a Preview of the image with a default blur Radius setting of 15.9. You can play around with the radius later. For now, just click OK to close the window as we will accept the 15.9 (I have found 15.9 to be right for most images anyway). The blur you are to achieve with this step should be enough to discern the shapes without the detail. Step 9 – The Magic Happens! This is the fun part. We now make one more blending option. Again, here’s the long way and the short way. Long way – Right-click the Blur rectangular box and select Blending Options. As described in Step 5, this will open a new box with lots of options. Again, ignore them for now. In the top part of this box you will find a window showing the Blending Mode and the default setting of Normal with a pull-down menu (A downwards arrow). Open the menu (left-click) again and this time select Multiply. Click Enter to close the box. OR Short way – Click on the same drop down menu you used to create the Screen effect, only this time select Multiply. You should now be able to see the Orton Effect! Step 10 If you want to accept the result, right-click the Blur rectangular box one more time and this time select Flatten Image (it’s the last option on the menu). This basically collapses all the layers into one final image and is the last thing you do in Layering. You can now save the image as normal. Does it look something like this? If it looks too dark though, you can adjust the Opacity level with the sliding bar before flattening the image. Look for the tiny Opacity tool in the top right of the Layering toolbox. But if you find you need to go below 90% the Effect is significantly lost and maybe it wasn’t the right image. Another option is to adjust the Fill and leave the Opacity at 100%. Have fun! I am. Peter
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Canon EOS 10D with Sigma 50mm f1.4 EX DG HSM lens Featured by the Style! Class! Elegance! Excellence! Group 23 October 2009 Best viewed large
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We had been shooting since 6.30am after racing into the city to capture the fog. We started at the Royal Botanic Gardens and slowly made our way around to Bennelong Point. The morning was crisp, bright, quiet, still, and the light was sensational. At the Opera House the cleaning crews were at silent, diligent work. One of several working on the steps, this young lady was not in a hurry and indeed was quite intent on her task. I had plenty of time to compose the shot and she was not even aware of my presence. Canon EOS 5D Mark II / Canon EF 24-105mm f4-5.6L zoom lens / Filter: UV / Focal Length: 47mm / ISO: 50 / Speed: 1/80 sec / WB: Auto / Focus: AF / Style: Monochrome / Image: single JPEG, cropped Featured by the Dimensions Group August 2009 / Featured by the Black & White Photography Group September 2009 / Featured by the Style! Class! Elegance! Excellence! Group September 2009 / Featured by the Stairs And Staircases Group October 2009 / Featured by the Contrasting Perceptions Group November 2009 / Featured by the That One Great Shot Group November 2009 / Tied for First Place in the Best Shot of a Public Building Challenge November 2009
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The Grace Hotel is in York Street, Sydney. It was built in 1930 in the Neo Gothic style, was renovated to be a landmark hotel, and is Heritage Listed. I shot it on Sunday, 18 January 2009, at around 7.30am, from across the street. The rising sun was directly in front. The sky was shot from my front balcony on Friday, 16 January 2009, at around 6.30am. The 2 images were then merged in Photoshop CS2. On both occasions I used my Canon EOS 5D Mark II, handheld, and Canon EF 24-70mm f2.8L zoom lens. The building, which I have been wanting to shoot for a long time, was shot at 51mm, ISO 50 (for the detail), 1/100 sec at f4, in Monochrome, on the way home from another shoot. The conditions were perfect and the sky was clear. The sky was shot at 24mm, ISO 160, 1/4000 sec at f3.2, also in Monochrome. Featured by the Sydney Group 21 October 2009 Best viewed large
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The future is always beginning now. Mark Strand
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/ below are the images I used. / / / / First real attempt at a composite
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Canon EOS 5D Mark II / Canon EF 24-70mm f2.8L USM Zoom Lens with Lee 0.9 Soft Grad ND Filter and Hoya HMC ND x400 Filter / Focal length: 25mm / Aperture: f22 / ISO: 50 / Speed: 165 seconds / Image: Single RAW file, unprocessed, cropped / Location: A cave at Bradleys Head, Sydney, midday. Featured by the Sets of Two Group October 2009 Best viewed large See also My Sydney
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Canon EOS 5D Mark II / Canon EF 24-70mm f2.8L USM Zoom Lens with Lee 0.9 Soft Grad ND Filter and Hoya HMC ND x400 Filter / Focal length: 24mm / Aperture: f22 / ISO: 50 / Speed: 120 seconds / Image: Single RAW file, unprocessed, cropped / Location: A cave at Bradleys Head, Sydney, midday. Featured by Redbubble Home Page September 2009 / Featured by the Sydney Group September 2009 / Featured by Dimensions Group September 2009 / Featured by THIS IS AUSTRALIA Group September 2009 / Featured by Sets of Two Group October 2009 Best viewed large For Tim See also Sydneyscape – Bradleys Head
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How To - Blending Exposures Together, Manually.
by Peter MarinI thought I’d share a quick way to blend exposures. / Nothing at all to do with HDR, but more about achieving a more balanced looking imag…
I thought I’d share a quick way to blend exposures. / Nothing at all to do with HDR, but more about achieving a more balanced looking image, exposure wise. First off, you will need to bring into Photoshop 2 images shot at least one stop apart via your camera, or RAW processed will do too. / Then, just drag the lighter of the two images on to the darker one, making sure it is stacked perfectly. / Ok, now just go to the top menu and do / 1. Select>Color Range and select Highlights from the drop-down. / 2. Put a tick in the ‘invert’ box and click ok. / 3. Add a Layer Mask, and then click on the Layer Mask to make it active. / 4. Go up to Filter>Blur> Gaussian Blur 250pxls and click ok. / Choose Flatten from the Layer menu up top. / You’re done. / Adjust Levels/Curves to taste if you want. I haven’t displayed any example because I wanted you to try it out for your self and make up your own mind whether or not you think it may be a useful tool to have up your sleeves for future stuff. / If you decide to give this a go, I’d love to know what you think. Good Luck / Peter
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Lithuania, Vilnius The preast of this church is my school friend Edvardas priest Edvardas and my chool friends MORE ABOUT THE CHURCH / CLICK PHOTO St. Peter and St. Paul’s Church in Vilnius (Lithuanian: Šv. apaštalų Petro ir Povilo bažnyčia) is a Roman Catholic church located in the Antakalnis neighbourhood of the city. Its interior, has masterful compositions of stucco mouldings by Giovanni Pietro Perti and ornamentation by Giovanni Maria Galli1 of Milan, and is considered a Lithuanian Baroque masterpiece. The church is a basilica built on a traditional cross plan with a lantern dome allowing extra light into its white interior. The freestanding columns of the main facade were used for the first time in Lithuanian ecclesiastical architecture. The inscription surrounding the base of the dome (Tu es Petrus et supra hanc petram edificabo ecclesiam meam et portae inferi non praevale buntadversus eam) is the same as that of St. Peter’s Basilica in the Vatican. The church is decorated with over 2000 religious depictions. The frescos are attributed to Johann Gotthard Berchhoff.[citation needed]. The female heads opposite the St. Augustine Chapel represent two sister nations: Poland and Lithuania. / [edit]History
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Many artists like art to be serious and meaningful, which is fine by me, but hey, I think the world is big enough to have fun art as well as serious art. This is based on a fluffy toy, but I changed the colours of his scarf, added stripes and gave him stripes too. I used coloured pencils and fineliner pens for this. Beatrix Potter’s Peter Rabbit obviously influenced the manufacturers of this fluffy toy and I was probably think of him when I redesigned the scarf :) And here is the esteemed model himself: FEATURED BY FINE ARTS INFLUENCED BY LITERATURE GROUP – 11th October 2009 FEATURED BY RABBIT, RABBIT GROUP – 11th October 2009 FEATURED BY FIRST THINGS GROUP – 11th October 2009 / FEATURED BY ART AND STORIES MADE FOR CHILDREN – 15th October 2009 / FEATURED BY DIMENSIONS GROUP – 25th October 2009 / I wish to thank Peter the rabbit for being such an inspiration. This portrait I did of him was favourited 23 times and Featured twice … in just the first two days.
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Sun Storm was shot at the same location and on the same shoot as Storm Passing Crescent. The light was sensational. The passing storm had been replaced by bright sunshine as the foreboding clouds hung offshore and contemplated where to dump next. On reflection, I could have gone up to f8 and sped up the shot, and perhaps should have. Lesson learnt by the end of the 6 day shoot. Canon EOS 5D Mark II / Canon EF 24-70mm f2.8L USM Zoom Lens with Hoya HMC ND x400 Filter and Lee 0.9 Soft Grad ND Filter / Focal length: 24mm / ISO: 50 / Aperture: f13 / Speed: 30 seconds / Image: Single RAW file / Location: Crescent Head, NSW Featured by the Dimensions Group 14 October 2009 / Featured by the Beauty of Nature Group 15 October 2009 / Featured by the 5D Mark II Group 17 October 2009 Best viewed large
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Three bolts of lighting hitting the ground near Geelong. / Taken from the Geelong waterfront looking West towards the Promenade and Cunningham Pier. / It has been pointed out to me, you can see a hand in the cloud formation pointing towards the far right lightning bolt! This photo has been favorited 70 times, I have sold 7 prints. It has been viewed 2450 times, thank you so much to those that have done so, I really appreciate it Canon 1DsMKIII / f.9 / ISO 640 / 24 – 105mmL @ 24mm / 15 second exposure Slightly cropped in PS4, to remove some workers huts on the bottom of the photo. Best Viewed Large Of Course Featured in the Geelong Throng & Night Photography groups
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Model: Victoria Veins / Hair & Make-up: Natascha Verkaik Camera Data / Make: Hasselblad / Model: Hasselblad H3D-39 / Shutter Speed: 1/160 second / Aperture: F/10.0 / Focal Length: 80 mm / ISO Speed: 100 / Date Taken: Oct 3, 2009, 7:03:54 PM
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Model & make up: Natascha Camera Data / Make: Hasselblad / Model: Hasselblad H3D-39 / Shutter Speed: 1/250 second / Aperture: F/9.0 / Focal Length: 35 mm / ISO Speed: 100 / Date Taken: Jun 11, 2009, 11:59:23 PM
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Every time I upload a photo now with this here new interface thingy, it tells me, ie doesn’t ask, Art or Photography. Well danged if that don’t confuse the hell outta a simple guy like me. So’s I got me to thinkin’ maybe they’re lookin’ for some of that arty farty stuff that when you look at it like the first time you go “WTF?” or something like that. So, there you go, as you do. Featured by the Black and White Photography Group November 2009 / Featured by the Escher and Perspective Art Group November 2009 / Featured by the Tunnel Vision Group November 2009 / Featured by the Contrasting Perceptions Group November 2009 / Featured by the Black & White Photographers Showcase Group November 2009 Best viewed large Canon 5D Mark II / North Narrabeen Rockpool
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The Easy Guide to Adding Clouds to an Image using Photoshop
by Peter HillThe aim of this Guide is to provide easy-to-follow step-by-step instructions on how to add clouds to an image which has an otherwise blan…
The aim of this Guide is to provide easy-to-follow step-by-step instructions on how to add clouds to an image which has an otherwise blank sky, without the necessity of being a Photoshop guru to achieve it. Many stunning images on RB are in fact composites, with clouds being brought in from another image to add impact. (Sometimes you can’t easily tell!) It works very well and can transform an image. I have only uploaded to RB one artwork which is a composite of two shots, one being clouds: The original image of the building was clear sky – not a cloud in sight – and was thus a bit bland and boring and a perfect candidate for some cosmetic surgery. This tutorial was prompted by a request to explain how I did it. I still call myself “new to Photoshop” and I have found a lot of on-line Photoshop tutorials, including some others on RB, assume a much higher level of knowledge than I have and are not very intuitive. So, I try to explain the steps in easy to understand terms (hopefully!) and, importantly, describe what each step should look like after it’s done. So if you are not seeing the result of each step replicated on your screen, you know you have to stop and try again. If this happens, go to the top toolbar, select Edit then Undo [whatever it is you’ve just done] from the drop-down menu and try again. (Many many tutorials lose me when they fail to include this vital “check back”.) This tutorial is my longest one yet, given the patience I apply, but once you get the hang of the actions, you will find the process rather quick to do. If you have already read and followed my Orton Effect tutorial, you’ll know what I mean, hopefully, so don’t be put off by this one. I explain the steps based on using Photoshop Elements 7, but users of more advanced Photoshop programs will be able to follow the same steps. I also have Photoshop CS2 (v9.0), for example, and there’s only one slight difference from the PE 7 interface from what I can tell, which I will point out where it’s relevant. If you want to refer back to this tutorial at leisure, feel free to favourite it as I never delete them. And for this tutorial I really am going to make the effort to update it to include screen shots of EACH step. In writing this tutorial I just want to point out I have not read a single tutorial by someone else on this particular process, and the words are all mine. I wish to also acknowledge that Tatiana originally showed me this process. She’s so patient dealing with my impatience! Step One Clouds. You need some cloud photos. Beg, borrow or steal some, or better still, shoot some. I have a folder of nothing but cloud photos. Any day the sky puts on a show I will try and shoot the clouds, just to save them for later use. If you shoot some clouds in JPEG, make sure you shoot them in colour – you can always desaturate to B&W if the image you want to use them in is also in B&W, but if you shoot them in B&W in JPEG you won’t be able to convert to colour to match a colour image. Just another reason to shoot in RAW, really. For this tutorial, however, I am going to use a colour image needing a sky and a B&W sky shot. In theory, this will look weird, and it does, but I will also show you how you can then gradually desaturate the colour image after inserting the B&W sky and achieve quite a startling effect when you leave just a touch of colour. For best results, try to have nothing else in the frame of your cloud shot but sky. No trees or power lines! (If that’s not possible then crop the crap out. But note that creates a potential problem because now your cloud shot will be a different size than the image you want to drop the sky into. That can be fixed, but let’s just worry about equally-sized images for now.) Another advantage of having a “clean” cloud shot is that you can rotate it to horizontal or vertical, depending on the aspect of the image you want to use the sky in. Here’s a little cloud photo I prepared earlier: Step Two Your main image. The one without any clouds. The one you want to insert some action into, some drama. Try to select an image with a completely blank sky. It makes it so much easier for the Magic Wand (I’ll explain later) to figure out the portion of the sky you want to replace, ie all of it. Try to also select an image with straight lines, like a building or, even better, a straight uninterrupted horizon of a landscape or seascape. If you’ve got stuff popping up into the sky, like trees, the method I describe is just made soooo much harder and you may as well stop reading now and go watch TV or a movie. (At this point, the Photoshop gurus are shaking their heads and groaning, because THEY know another method to get around this when doing composites, but we’ll leave THEM on their lofty perches, ok?) Here’s a little image I prepared earlier. You may recognise the building: Cool. Now, let’s get starting on cooking our composite. I will refer to my two images in this tutorial as Clouds and Building, just for ease of reference. Step Three You’ve got Photoshop Elements (“PE”) open. Now select File from the top toolbar and select Open from the drop-down menu. Choose your Building shot and open it. Ok, now look across to the right of the screen. See the Layers palette? It should be showing a thumbnail of the Building image, together with the label Background. Now, once again, select File from the top toolbar and select Open from the drop-down menu. Choose your Cloud shot and open it. Look across to the Layers palette. You should now see a thumbnail of the Cloud image, together with the label Background. Now, left click and hold down the mouse on the Cloud image, and drag it to the side, just enough to show some of the sky of your Building shot. Release the mouse button. Move the mouse over to the Layers palette. Left click and hold over the thumbnail of the Cloud, and drag it over to the sky – anywhere in the sky. Release the mouse button. A copy of the Cloud image should now be “superimposed” over the Building image. Don’t worry if it doesn’t fit. Look over to the Layers palette. You should be seeing now two thumbnails – the top one called Layer 1 which is the “front” image, and the bottom thumbnail called Background, which is your Building image. Now, ignoring the Layers palette, left click on the Cloud image sitting behind the “superimposed” image. Close it. Step Four Look over to the Layers palette again. See that group of little icons just above the top thumbnail? Hover your mouse slowly over them and their functions should come up, eg the 3rd icon from the left looks like a trash can and when you hover the mouse over it a little word bar comes up saying Delete layer. Well we don’t want to do that. Instead, hover the mouse over the icon on the far left. It should say Create new layer. Just remember where that icon is for now. (If you are using Photoshop CS2 or CS3 or CS4, the group of icons is at the bottom of the Layers palette. Hover the mouse over the icons until you find the one that says Create new layer. Remember it.) Now, left click and hold down the mouse over the bottom thumbnail in the Layers palette – it’s the thumbnail of the Building that’s labelled Background – and drag it over to the Create new layer icon. Release the mouse. You should now see three thumbnails in the Layers palette, labelled, from top to bottom: Layer 1, Background copy, and Background. Step Five This is a slightly tricky step. Another click and drag, but best done smoothly and slowly. Left click and hold down the mouse over the Background copy thumbnail in the Layers palette and drag it to just over the top of the Layer 1 thumbnail. Release the mouse. All we are doing here is reversing the order of the top and middle thumbnails, so now your Layers palette should still show three thumbnails, but now in order from top to bottom: Background copy, Layer 1, and Background. Step Six Ok, now the meaty stuff starts. Look over to the left toolbar now (or palette, whatever you want to call it). Hover your mouse until you find the icon labelled Magic Wand. It looks like, um, a magic wand, but don’t confuse it with the Quick selection tool immediately below it. Click on the Magic Wand icon. Your mouse pointer should now have the distinct look of a, um, magic wand. Look up at the little toolbar immediately above the image (which, incidentally, should be of the Building). Make sure the box marked Contiguous is ticked. Now left click once on the sky in the Building image. You should now see marching ants completely around the sky and along the exterior part of the building which protrudes into the sky. (Believe it or not, the technical term for marching ants is …. marching ants.) Step Seven Look closely at the marching ants where they meet the edge of the building. Are there any gaps where you can see the sky? This is important, because if you don’t shift the path of the ants so that they align to the edge of the building, your new sky won’t cover that gap. Enlarge the image if you are not sure. If you see a gap, it is easily fixed. First, press and hold Shift on your keyboard. Second, left click once on the mouse on a gap. Let go the Shift key. You should immediately see those obedient mice form up against the building across the image. Cool, eh? Now, go to the top horizontal toolbar and select Edit. From the drop-down menu select Delete. This will delete your bland boring sky and replace it with your new dramatic sky !!! How cool is that?! Epic. Step Eight Now we have to send the mice home. Go again to the top toolbar and select Select. From the drop-down menu now select Deselect (ha! ha! I love a good alliteration!). Your marching ants should be no more, gone in fact. Does your image look something like this? How cool is that? Step Nine Nearly done! At this juncture, you have two options. You can finish now with the image you’ve got or you can adjust the look of the Building alone and/or the Clouds alone and then finalise the image. To finish now, right click and hold the mouse over the top thumbnail in the Layers palette. Select Flatten image from the drop-down menu. The thumbnails should have collapsed into one thumbnail, called Background. You can now save your image, you’re all done! To work further on the Building alone and/or the Clouds alone, simply left click once on either the Background copy thumbnail and/or the Layer 1 thumbnail and make your adjustments as you would normally do with an image, and then flatten your image and save it. Which is what I did with this image. I simply increased the contrast on the building and desaturated it to the level where there is just a hint of colour. To alter contrast, select Enhance from the top horizontal toolbar, then select Adjust Lighting from the drop-down menu, then select Brightness/Contrast from the second drop-down menu. A separate window will open and there is your contrast slider. To desaturate, select Enhance again from the top horizontal toolbar, then select Adjust Colour from the drop-down menu, then select Adjust Hue/Saturation from the second drop-down menu. A separate window will open and there is your saturation slider. So, how does it look? Epic or what?! Cheers and happy clouding !!!
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