In line with the “Drought” experiment, I should be churning out some more acrylic / Photoshop merged landscapes in the next week or so. / ...
In line with the “Drought” experiment, I should be churning out some more acrylic / Photoshop merged landscapes in the next week or so. Although I’m thinking of descending into surrealism just for the fun of it..
how cool. My mum wants to learn PS. It’s going to have to be mostly distance-so I may as well share the tips! One-the goal Know you…
how cool. My mum wants to learn PS. It’s going to have to be mostly distance-so I may as well share the tips! One-the goal Know your goal / Make a plan / Stick to the plan / If the plan doesn’t achieve the goal, make a new plan / Achieve the goal. Two-the goal Natural or nurture? Portraits Let’s pick natural first. Why do we like natural? It’s easy to relate to, we feel close to it, we’re familiar, we feel comfortable. If an image is ‘natural’, we accept it. Anything unnatural stand out. We jump on it. When using PS, less is usually more. Like film photography- Aim to get the best results in camera. That means good light, good subject and good angles. Because; What you see is what you get. What you see through the lens is what you end up with. Exception: the camera’s eye is not as good as our own. Light-It sees less when it gets dark, flashes drown out backgrounds and artificial light is, surprise! artificial (either yellow or green usually). example of different light (see dif angles/light-walking around the subject (Lara) in sunlight Exception-Depth of Field (DOF) this how much of the foreground/background is in focus. For portraits, its best to have just the face in focus. The background is distracting, unless it adds info about the subject being photographed. With an automatic camera, it depends on how much light. More light will mean more in focus. As it gets darker, the camera might not focus on anything, or it may too close to the subject. In PS, to get rid of distracting background, blur it. There is a blur tool. Remembering, less is best-use it subtly, and logically. Heavy handed blurring can detract. I suggest 50% to begin with. go look at portraits on the net and find ones that use varying DOF. Notice there are very few tips on PS here! That’s because the same thing can be achieved using the camera first, so get familar with the goals first! Then go on to lesson 2
Framing the photo. As said in lesson one, how the image looks in the view finder or display screen in what you get. Once the image is…
Framing the photo. As said in lesson one, how the image looks in the view finder or display screen in what you get. Once the image is on the computer, you can play. One thing you can do afterwards is FRAME the photo. Also known as cropping. Of course, best done in camera first, because zooming in afterwards loses pixels, and information which makes the image sharp. But if you’ve already cropped, it’s hard to go back! Being digital, I take a few at varying distances, when able. How to crop Portraits. the general advice is; / neck up/shoulders up for close ups on face / waist up / whole body. Note on hands and feet-chopping off hands and feet can look really strange, even arms midlength. Hands and feet can be extra, distracting detail. Note what they are doing in the image, and use your own judgement. Another tip-don’t rely on funny angles to make an image more interesting. It’s a fun thing to play with when beginning. The most important thing is the essence, so as long as it compliments the subject, rather than relies on it as device. Back to cropping. Full length images can be interesting if you push the cropping. In fashion, fill the frame with head and feet right to the edges can make a person look very tall, or imposing. Leaving lots of space around them can make them smaller. Angles / Again, see ‘walking around the subject’ (lara) to see different light-it’s a good tip, to walk around the subject. Getting a person to tilt their head down, and look up with their eyes is a common ‘demure’ look. Face tilted up catches the light in peoples eyes, and disguises double chins. Half turning the shoulders, face more towards the camera is a common position for portraits. (see school photos!). Looking down on a subject makes a person seem soft, more vulnerable and in politics, weak. John Howard complained about ABC doco camera crew doing that to him. Whereas looking up to a subject makes them more monumental, strong and in command. Beware of ‘shooting up the nose’. Again, very little PS here! You get my drift about most of the good stuff being done in camera. It makes sense to do it well before, rather than spend hours in PS ‘(cringe) polishing a turd’. I hate the expression-and yet, so accurate. Get the gold before, as much as you can.
I have just learned a really useful little tip for Sharpening images in Photoshop which I thought I should share with you all. Until n…
I have just learned a really useful little tip for Sharpening images in Photoshop which I thought I should share with you all. Until now when I sharpened an image in CS3 with Smart Sharpen I used to sharpen and then leave it at that. As you may well know over sharpening can produce exaggerated noise and produce “halo” effects on your edges which look plain nasty. Here’s a few useful tips to help you improve the quality of your sharpening. – Always sharpen to a NEW LAYER (Merge all to new layer using SHIFT+CTRL+ALT+E on PC’s) – I always convert this layer to a smart object to allow me to modify any applied filter effects. – Always change the blend mode on this layer to LUMINOSITY. This massively reduces the halo effects on your sharpened image. (Try over-sharpening an image and then changing the blend mode to luminosity just to see this in action) – Follow these guidelines for smart sharpening for the best results For STANDARD SHARPENING – Amount 100, Radius <=2 / For SOFT IMAGES – Amount 140, Radius <=1 / For PORTRAITS – Amount <=5 Try these guidelines out and see what you think.
I have been asked by many people via comments, and directly, how I get the clear skin effect on my *Portraits...
I have been asked by many people via comments, and directly, how I get the clear skin effect on my Portraits / . So, as I am now a leader in the Photoshop Help group, along with my good buddy Faizan Qureshi – I thought I would kick off my participation with this brief tutorial on how it is done. / / This was done in Photoshop CS2, but as the effect only uses the standard Photoshop tools, most if not all versions of the program will suffice for this tutorial. / / First things first, you will need a file to work on. The settings in this tutorial are based on the low resolution starting image here, and if you use higher resolution images – the settings will be different. / / You may right click and save the starting image below and use it to work through this tutorial to practise – you may also upload your finished work into your portfolio for feedback and to show others how you did – You MUST not, however, place the image for sale, or use it for any other purpose other than this tutorial, without my permission / / So, follow the steps and have some fun with this. / / 1. Save the image below and open it in Photoshop / / Starting Image / / startmodel / / / 2. On the toolbar on the left hand side, click on the healing tool / / healing brush tool / / Use the following settings for the healing brush / / healing brush tool settings / / / 3. Zoom in on the model so that you can see imperfections on the skin. Hold Alt on your keyboard and click on an area of skin close to an imperfection once – release the mouse and the Alt key / / healing brush step 1 / / / 4. Click the mouse again over the imperfection that you want to hide, once / / healing brush step 2 / / / 5. Repeat the last two steps until you have removed all the imperfections, until the image looks similar to the one below. / / model after healing brush applied / / / 6. Down on the right hand corner of the Photoshop workspace – you will find the layer pallette – Have a look – you will notice that there is one layer called background, or Layer 1 in the pallette at the moment. / / The Photoshop layer palette / / / 7. Go to the menu bar running across the top of the workspace – click on the word – Layer, then click on Duplicate Layer. A box will appear, just click OK. Notice that a new layer, called layer 1, or background copy now appears in the layer pallette above the background layer. Make sure that this top layer is highlighted/selected / / 8. Just above the highlighted layer, there is a drop down menu [which probably has the word Normal in it at the moment]. Click that drop down menu and click on multiply. / Multiplying the layer / / / your image will go very dark like the one blow. Model after multiply / / / Still working on this same layer / / 9. On the menu bar running across the top – click on the word Filter, then on Blur, then on Gaussian Blur – a box will appear. Change the settings to that below and click OK to apply the effect. / / Blur settings / Your image will now look like the one below / / model after blur applied / 10. Go to the top menu again, and click on the word Layer, then on New Adjustment Layer, then on Levels – a box will appear. Adjust the settings to that in the image below. / / Levels adjustment settings / / / Your image should now look like the one below / / Model after the levels adjustment / / / Note here that you now have 3 layers in the layer pallette. You will need to be working on the MIDDLE layer [see below] for the next step, so make sure it is selected. / / Selection of the middle layer for the next step / / / 11. On the toolbar on the left, click on the History Brush to select it history brush tool / / / On the top toolbar menu, set your brush to a small soft brush [so that you can fit it into the corner of the eyes], and set the opacity to 25 / / All in one stroke [thats important with low opacity] paint over one eye totally to bring the detail and brightness back out. Repeat for the other eye, and then for the lips. / / The effect is quite subtle here, but it will make a big difference at the end of the tutorial and will give life to your model. / / Your image should now look similar to the one below / / model after history brush / / / 12. Now go to the menu up the top and click on the word Layer, then click on Flatten image – this will result in you having one layer in your layer pallette again. / / Ok – so your model has great skin now, but she is a bit on the bright side. We are going to darken her up a bit, but if we just do it now, she will likely turn orange with the current saturation level. so we need to adjust it a little. / / 13. Go to the menu up the top and click on the word Image, then Adjustment, then Hue/Saturation – a box will appear. change the settings to that below. / / hue/saturation settings / / / The image should now look a better colour model after hue/saturation settings applied / / / Now lets darken her up / / 14. Up to the top menu again – click on the word Image, then Adjustment, then Levels – the levels box will appear. Change the settings to that in the image below. / / Levels adjustment settings / / / Your image should now look much darker / / model after levels adjustment applied / / / Finally – we need to bring out highlights and for this we use the dodge tool. / / 15. Over on the toolbar on the left, click on the dodge tool to select it / / dodge tool / / / Use a soft large brush [about the size of her whole cheek], set the opacity to 18 and work on highlights in the drop down menu [up the top]. Click and drag once across the eye area, then once down the models right cheek to brighten these areas up. / / Your image is now complete and should look something like this / / finished model / / / I hope you enjoyed this tutorial. The settings will be slightly different with other images of different resolutions but the methods will be the same. When adjusting levels blur etc on other images, use the sliders to get similar looking effects to what you used here and the effects will work nicely for you. / / Good luck everyone, Please come back here and let me know how you got on.
It has only been recently that I have turned my hand to portrait renderings. I use a wacom intuos tablet with an apple mac pro desktop w…
It has only been recently that I have turned my hand to portrait renderings. I use a wacom intuos tablet with an apple mac pro desktop with 5 gig of ram and 2 terrabytes of storage. I use a dual monitor setup and I am currently studying creative computing and working designs in college. I have always painted and sketched but it is only recently I have switched to digital. I love using corel painter x and photoshop cs3 as they seem to work seemlessly between each other. All my images are rendered from a blank canvas and are built up slowly. I always try and start with a line drawing and block in value and texture before hitting it with colour. Then i may go over the image again tightening up the line work and re texuring the image etc. I look at artists such as Ryan Church, Dermot Power and Eric Tiemens and try and reconstruct their paintings. I always look at someone whos been successful in his or her profession and try to emulate what they have done.
This technique is an oldie, but a goodie. I think Eddie Tapp was the first person I saw do it and there have been variations, but for a …
This technique is an oldie, but a goodie. I think Eddie Tapp was the first person I saw do it and there have been variations, but for a quick and interesting portrait effect this is terrific. It is not a beauty retouch. The image is brought to us by hamletnc over at Stock Xchange I have the original image as well as one that I tidied up a bit, you can choose which one you work on. I used the Making Eyes Shine Tutorial on the eyes. I also used the Adding Depth To Eyelashes I also did some general tidying up of the image (still needs lots, lots more), removed the earrings (and normally I would have done something with the ear) added a little bit of length to the hair and tidied the edges a bit, and cleaned her teeth You’ll also noticed that I reduced the darkish lines under the young lady’s eyes. I did this in combination with her smile lines, the line on her chin and the lines on her neck on the one layer, then reduced the opacity of the layer to 40%. Don’t make the mistake of only reducing the lines under the eyes (example) because it will unbalance the face. Just another point before we get on with it – in this tutorial we are going to be using the Red Channel, if your image has quite a lot of red in it i.e. dress, b/ground etc., it is going to fade the red. You can of course use the mask to bring it back (as we will in this image), but you might want to try the Green Channel first to see what kind of effect you will get, and it will preserve the red in the image. Click through for the larger images. If you’ve opened the second image, go ahead and duplicate it. Next, go to the channels palette and click on the red channel. Press Ctrl + A on your keyboard to select all – press Ctrl + C to copy – click on the RGB channel, switch back to the layers palette, make aure the top layer is active, then press Ctrl + V on the keyboard to the paste the red channel. Change the blend mode of the layer to Luminosity and take the opacity down to about 30%. Go to Filter>Blur>Gaussian Blur and blur the image by about 6 pixels. Try and maintain some texture in the skin. Add a mask to this layer by clicking on the Add Layer Mask Icon at the bottom of the layers palette, make sure the f/ground colour is set to white and go and grab a soft edged brush. You’ll probably have to zoom in a bit for this – paint over the eyeball, the lips and teeth, the eyebrows, the scarf at the bottom of the image, and the hair around the face, leaving the outer edges. Probably go about half way back into the hair. If you want to view the mask at any time hold down the Alt key and click on the mask, to return to a normal view – do the same. Hopefully you’ll be able to see what I’ve done in the image below. We’re going to create a new layer, make sure that you are still working on the layer with the mask, then press Ctrl + Alt and click on the new layer icon at the bottom of the layers palette. A dialogue box will appear, change the blend mode to Soft Light and check the box that says ‘Fill with soft light neutral color (50% gray)’ Make sure the new layer is at the top of the stack and grab your Dodge Tool from the side Toolbar. In the top options bar change the Range to Highlights and use about a 15% opacity, then I want you to go over the highlights in the hair – leave the outer edges of the hair – perhaps don’t go any further out than half way. Once you’ve done want you want to do with the Dodge Tool you can either carry on, on this layer when we use the Burn Tool or create a new one, so you have these on two seperate layers. Grab your Burn Tool, change the Range to Shadows and the opacity to about 15% and burn over some of the darker areas. When you are happy with your work Flatten the image, then duplicate it. Change the blend mode to Overlay, then go to Filter>Other>High Pass and set the pixel radius to about 1.5 Add a layer mask and then press Ctrl + i on the keyboard to invert the mask. Make sure the f/ground colour is white, select a soft edged brush and paint over the same areas as you did before – eyebrows, eyeballs, lips and teeth, hair. Take the opacity of the layer down to suit. You might end up with something similar to the image below. If you think this is a little pale, you can always use a curves adjustment layer to add some contrast to it. And here is a comparison image – original and adjusted. Have fun :-)
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.
_*Aloha, mahalo nui loa to the Hosts for including and featuring this in many groups, and to all the members who have added this to your …
_Aloha, mahalo nui loa to the Hosts for including and featuring this in many groups, and to all the members who have added this to your favourites. If you favourite this, it would be so kind of you to leave me a note and let me know you are here. Today (24 August 2009) my journal has 1871 views. Today 28 September 2009 my journal has 2063 views. Check back often for additions and updates. Mahalo, thank you so much!_ Sharon Mau RedBubble Homepage Blogspot RedBubble Newsletters Chilling Effects Clearinghouse story on Derivative Works Tips for creating a Triptych in Lightroom Sell your images at Veer Marketplace ~ Stock Images Create an eye catching montage Adobe Photoshop Lightroom Killer Tips Time and Date World Clock Photographers’ Voices Heard at Congressional Briefing on Copyright 10 ways to take stunning portraits Certified Professional Photographer Ashley Riddell ~ ranash1995 Excellent Photoshop Tutorials Metallic BW portrait toning Lipo’s Photo Effect Tips – Portrait Photography Retouch Digital Makeup by Christian Reppen Ship Speedpaint Waterfall Speedpaint Basic Retouch and Makeup Glamour Glow Skin Retouch Facial scrub for even, glowing skin Body Reshaping with Liquify Applying Texture Without Looking Like a Douche IceflowStudios Awesome Eyes Photoshop Tutorial “Excellent Photoshop Tutorials” was accepted into the How To RedBubble group Google AdWords Keyword Tool Google Search Based Keyword Tool# Google Search Based Keyword Tool Help – How It Works
Thought I’d share some photos I’ve taken and manipulated lately. Photography isn’t really what I’m about but I like images, texture and …
Thought I’d share some photos I’ve taken and manipulated lately. Photography isn’t really what I’m about but I like images, texture and retouching as a way of keeping my skills up to date and creating fairly quick emotive pieces. / I was mucking around with 40s and 50s hair and make up the other day and wanted to document it. You might notice it’s now my profile picture, I liked it that much! I wish I could look like this every day :P
Hi Everyone I just wanted to share some wonderful news with my RB friends….a day or so before my birthday (dec 31 :) and deadline for c…
Hi Everyone I just wanted to share some wonderful news with my RB friends….a day or so before my birthday (dec 31 :) and deadline for contest …i entered the Photoshop User Awards….I entered last year and did not place…but this year..i was shocked..surprised that my image of Mason “Strong Boy and Dog Max” won first place in the Wedding/Portrait for the Photoshop User Awards….Mason and I are blown away and so excited… / Here is the link to the site with the image if you would like to see it :) / http://www.photoshopuserawards.com/winners.php
Don’t just think of portraits as involving people, I think this will work well with animals as well. This process is dependant on lots…
Don’t just think of portraits as involving people, I think this will work well with animals as well. This process is dependant on lots of factors, personal taste being one of them. The blend modes for the layers and the sharpening and blurring will still be the same. However, the amounts of blurring and sharpening will vary, as will the opacity of the two layers – well, 3 layers if you choose to go one step further. So lets take a look at the process, then you can go off and play :-) The practise image is brought to us by Arif Imam over at StockExchange, you can find it HERE I have resized the image. That’s a nice portrait, it could probably do with quite a bit of colour correction. Even then, it may not be anything special. So lets bypass the colour correction and try to make it have an impact with a couple of layers and changing blend modes. Open the image, duplicate the image and close the original. Duplicate the background layer by dragging it to the create a new layer icon at the bottom of the layers palette or pressing Ctrl + J on the keyboard. Working on the top layer, press Ctrl + U on the keyboard to bring up the Hue/Sat dialogue box and take the Saturation all the way down to -100, click OK to accept the changes. Duplicate the desaturated layer twice more by pressing Ctrl + J on the keyboard twice. You should now have 3 desaturated layers. Name the top layer ‘Multiply’ and the middle layer “Screen”, turn off the top layer (multiply layer) and change the blend mode of the layer named Screen to Screen. You should have something similar to the image below. Still working on the layer you changed to screen go to Filter>Sharpen>Unsharp Mask … or you can use Smart Sharpen if you like. You can copy my settings for this image but different amounts will work better on different images – just a case of finding the time to practise a little bit. I’m going to push the numbers here – Amount 300% – Radius 0.8 – Threshold 0 Turn on the layer you named multiply and change the blend mode to multiply. Go to Filter>Blur>Gaussian Blur and again on this particular image you can punch in the same numbers that I have ….. experiment. Change the opacity of the multiply layer to about 40% With some images you may have go and reduce the opacity of the Screen layer as well, but I have left it at 100% in this image. Duplicate the original background layer and drag it to the top of the stack. Change the blend mode to Soft Light and lower the opacity to suit. I used 40%, which can be adjusted. I then used a Curves adjustment layer Output 125 – Input 103 to lighten the image overall. If your Layer Palette Options are set up for an adjustment layer to automatically add a mask, click on the mask and press Ctrl + i to invert it. My Options are set up so I can add a mask only if I want one to appear. Because my adjustment layer doesn’t have a mask attached, I can simply hold down the Alt key and click on the add vector mask icon at the bottom of the layers palette and the mask will be black (hide all). With the foreground colour set to white and a large soft edged brush selected, make sure you are working on the mask and paint the face and hair area back in. At this point you can go back tweak each of the individual layers to come up with something you like. Here is my final image, and then a comparison image. Have fun.
Ok, I thought I’d give back what I’ve learned since so many people on the Internet have helped me out! If you already know this and I’m t…
Ok, I thought I’d give back what I’ve learned since so many people on the Internet have helped me out! If you already know this and I’m the only one who just figured it out recently, then I’ll slap myself silly and call it a day LOL. Today, I’d like to show you how to get the most in terms of pixels on your subject, without cropping or enlarging the actual subject. We all know that when you crop an image, you lose pixels, when you enlarge, you may get blur depending on the software you use. I use Photoshop CS and CS4 (recently got). Let’s take this picture as an example. / It’s a nice tight shot taken vertically with some white space all around her. I have learned to frame my subjects like this and ensure I have space all around, because later I can have more options to work with. Now with that image, all you can pretty much do is print vertically, which is ok. Now let’s say you wanted to achieve the same shot but framer her to the right, like 1/3 of the picture for an interesting composition. With you camera, you would turn it sideways and have to “zoom out” to fit her in the right or left side and have all that white space on either side. Now, it will be a great image, except now your subject has gotten much smaller in terms of the overall portrait. Get it? You got that shot, but you had to lose out on the size of the subject. So if you cropped or enlarged, you would lose out a bit on pixels and maximum enlargement size. Well I just learned that the crop tool, ain’t just for cropping in photoshop, well at least just not for cropping “down”. What I’m about to show you will work mostly on solid white or black backdrops, with very little effort, since colors will match perfectly. You can do it with other shades of white, but you will have some cloning, dodging or burning to do. I opened Kaylie’s picture, the one I took vertically against a solid white backdrop that was overexposed. In photoshop, I took the crop tool and dragged it over the entire photo. Then instead of dragging one side in to crop it smaller, i dragged it “out”, making my canvas larger! Before doing this, i made sure my swatch color was white. After I expanded the crop to one side, I hit enter. This made the canvas size larger and filled it in with the white color from my swatch! Really in like less than 2 minutes! Now you see the same image with Kaylie on the right and all this white space on the left, looking as if I shot it this way. But, you will notice now that it is landscape and Kaylie’s body size remains the same, so we have not lost any pixels on her. ! So now we have an image that works either in portrait or landscape printing! You can also do this in case you wanted a subject centered, etc. You can also do this by increasing canvas size, etc, but this is quick and super easy! This works great if you shoot musicians or anything that later may require that extra white space for words for a poster or CD cover, etc. Final image: / Please note that this image wasn’t completely white, so I did some cloning in the final image. But you will get the point I’m trying to make in this tutorial. Let me know if you have any questions! Enjoy! xoxo / Jen
The start image is brought to us by mirimcfly over on Flickr, you can find it HERE...
The start image is brought to us by mirimcfly over on Flickr, you can find it HERE The image is available with a Creative Commons License, which you can read about HERE You’ll notice that the image is a little flat i.e. not very much contrast going on, and this will suit the type of effect you are going to do very well. The settings are relevant to this image 1024X768 @72dpi, but personal taste has a lot to do with the settings as well, so please experiment and don’t take the settings I apply as stock standard. There are a gazillion ways that you could finish this effect with, I’ll show you a couple of different ways at the end. I’ve added a comparison image below of the original colour image, the desaturated image and a (maybe) final version of the image and also a look at the layers you will using. Open the image, Ctrl + J to duplicate the layer, I used a black and white adjustment layer set to Green Filter to desaturate the image. If you have anything before CS3 you won’t have this available to you, so I have added the image above for you to work with (incase you were wondering what that was for). Open both images – the Start image and the desaturated one, then make sure the move tool is selected by pressing V on the keyboard. Hold down the shift key and drag the desaturated image onto the coloured one. Then duplicate the desaturated layer. If you have CS3/4 you can use the Green Filter and then Merge down and then Ctrl + J to duplicate. You should have 3 layers – the original colour layer and 2 desaturated layers. Change the blend mode of the top layer to Overlay and go to Filter>Other>High Pass and use a radius of 20 pixels. Click OK to accept that and then hold down the Alt key and click on the add new vector mask at the bottom of the layers palette to assign a black (hide all) mask to the layer. If you’re working along with the same image as I am then you can simply brush back in the face,neck, ear, hands, arms with a white soft edged brush. You want the High Pass effect to be visible on those parts. See image below. Make the mask pretty accurate because we are going to use it over and over again throughout this project. Ctrl + Shift + Alt + E to stamp visible then go to Filter>Blur>Shape Blur, use the Hexagon shape set to a radius of 5 pixels. Take the layer opacity down to 30%, blend mode set to normal. Ctrl + Shift + Alt + E to stamp visible again, change the blend mode to Overlay and then go to Filter>Other>High Pass and use a radius of 10 pixels, take the layer opacity down to 50% add a layer mask by Alt + clicking on the Add Vector Mask at the bottom of the layers to add a black mask (hide all). Hold down the Alt key and drag the mask from the first High Pass layer onto the layer mask, let go when it is over the layer mask thumbnail – a small dialogue box will appear asking you if you want to replace the mask click yes. You should end up with something similar to the image below. Ctrl + Shift + Alt + E again to stamp visible and then go to Filter>Blur>Shape Blur and choose Hexagon with a radius of 5 pixels. Take the opacity of the layer down to 50% blend mode set to normal. This blur will be used on the b/ground, not the man, so add a layer mask by clicking on the add vector mask at the bottom of the layers palette (white mask). Grab the layer mask from the layer below Alt + Click + drag and drop it onto the layer mask thumbnail. Ctrl + i to invert the mask. You might have something like the image below. You could leave the image at that if you wanted to. Maybe give it a bit more contrast and a sharpen, or you could carry on doing some more things to it. In the image below I’ve used a Hue/Sat adjustment layer set to colorize with Hue 200 and Saturation 5 Brightness to 0 – opacity set to 50%. I’ve used the mask to confine the adjustment to the man. In the next example, I’ve dupicated the original colour b/ground and dragged it to the top of the stack, changed the blend mode to soft light and taken the layer opacity down to 50% The next image shows what happens if you leave the blue adjustment layer turned on underneath the original coloured layer. Next, I decided that I didn’t like the quite white background of the composition so I added another Hue/Sat adjustment layer, chose colorize and used Hue 25 Sat 10 changed the blend mode of the layer to Multiply and took the opacity down to 75%. I used the mask again to isolate the effect to the background. Next I used a Levels adjustment layer and took the middle slider to 1.25, then used a radial gradient on a mask to lighten the image in the centre. Then I used a vignette to darken down the edges. Next I used an S curve in a curves adjustment layer to give it a bit more punch and confined the effect to the man with a mask and finally I used a High Pass layer to sharpen the image, radius set to about 2 and a mask to again confine it to the man. Below is my final image, if you have any questions, just ask. Have fun!
My latest work is a combo of Photoshop and Illustrator with sections of the piece such as the readouts pics and designs done with Illustr…
My latest work is a combo of Photoshop and Illustrator with sections of the piece such as the readouts pics and designs done with Illustrator. The rest including the blur and zoom effect as well as converting the backdrop to an image was with Photoshop. I love wide aspect ratio work as it looks more cinema quality so I think I might do a couple more works in that format than expand to dual format, landscape and portrait works. Just to note my other piece featuring the car was replaced with the newest piece ‘UFO Incoming’. Id like to do more space pieces in the future so that is definitely on my list to do more pieces towards that theme. Id appreciate any comments on my artworks as Id be very appreciative of the feedback. There are some extra pieces at my website which are framed and in a4 format if you would like to peruse them at your own time. The site is: www.mydigitalage.com / My Facebook is: White Cosmos then just go ‘add’ if you like. Mr Digital
WOWIE- ZOWIE!! I’m on the front page!!! :) Bottom right hand corner. :) www.redbubble.com Thank Yo…
WOWIE- ZOWIE!! I’m on the front page!!! :) Bottom right hand corner. :) www.redbubble.com Thank You Redbubble!!!! :) XOXOXOXOXOX That photo describes how I feel at the moment!! :)
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