Been under the weather this week so I thought I would just go through my basic Topaz (for website link see my Tidbits Blog sidebar) Simplify 4 workflow. Nothing too fancy, but always a lot of fun to work with Simplify. The image above is a composite of a variegated leaf from Hawaii and the body of a Palamedes Swallowtail Butterfly that was in my penta flowers. The butterfly body was selected and placed on its own layer before moving into the leaf image. On a composite image some of the colors in the leaves were swapped around using Topaz Clarity and then Topaz Simplify 4 was applied using my Tulip Preset to get the pretty colors. (The preset settings if you would like them are as follows: oost 0, Details Strength .80, Details Boost 1.29, Details Size 0.96, Remove Small 0.10, and Remove Weak 0.2o; Adjust: Brightness 0.02, Contrast 1.11, Saturation 0.60, Saturation Boost 2.06, Dynamics 0, Structure 1.00, and Structure Boost 1.00; and Edges – Color Edge: Normal, Edge Strength 0.00, Simplify Edge 0.60, Reduce Weak 24.00, Reduce Small 0.20, and Fatten Edge 0.00.) While still in Simplify, another preset was applied, Sketch -> Pastel II preset with Transparency: Overall Transparency set to 0.52. The layer was duplicated and a Gaussian Blur was added to soften the details in the background. With a layer mask, the leaf and butterfly were painted back. On another composite layer, the wings effect was created using the CS6 Oily Classic Blender #4 Mixer Brush to smooth out the rough edges that are a dead give-away that you used Simplify. Just put an OnOne PhotoFrame effect on image (this program is no longer available) and FrenchKiss Studio 3 WhiteWash texture set to Soft Light to give a painterly effect. There were a few other steps and tweaks to get the color pop but overall it followed the workflow below. I love using the Mixer Brushes – always adds that more realistic feel to the Simplify images.
…..This may not be the perfect photo, and obviously I was not that enamored with it until Lightroom 5 came out with their Upright correction, but the more I looked at this image, the more interesting it was. And the color in the image turned out to be quite striking. Below you can see what is going on with all the people. What a treasure trove! You can see all kinds of activities and expressions with just the people in front of this busy cathedral. Very cool!
This follows one of my pretty basic workflows for getting a crisp artistic look to an image, not exactly painterly, but not a photographic effect either.
- After using Lightroom to straighten up the image at least to an acceptable amount, the image was cleaned up in Photoshop and a sharpener added for clarity of the detail lines. Now is a good time to use both Topaz DeNoise and Detail – I use them both before doing any real painting or filtering of an image.
- Next Topaz Simplify 4 is used starting with one of their presets, changing it, and saving as my own preset if I like the results and think I would want to use it again. The above images used this preset: Used Painting -> Watercolor preset as a starting point, then adjusted the following settings. Simplify: Color Space YCbC4, Simplify Size 0.46, Feature Boost 1, Details Strength 1.87, Details Boost 0.20, Details Size 0.58, Remove Small 0.10 and Remove Weak 0.20; Adjust: Brightness 0.02, Contrast 0.82, Saturation 0.85, Saturation Boost 2.06, Dynamics 0, Structure 1.00, and Structure Boost 1.00; and Turned off Edges Section.
- A layer mask is added to the Simplify layer and areas are painted out where more detail was to be added.
- A Hue Saturation Adjustment Layer is added to adjust colors, green in the above case.
- A New Layer is created and a Regular or Mixer Brush is selected, an artistic feel is added to the image. Above I used CS6 Oily Classic Blender Mixer Brush #4 (found in the CS6 Mixer Brush Tool Presets when Mixer Brush Tool is selected) for the tree branches to give a more “painterly” look to the image – this brush is excellent for smoothing out jagged edges on any of your images. The opacity of that layer was then set to 46%
- Another New Layer was created to paint out distractions like wrong colors on white that draws the eye.
The last step for the Cathedral image was to add another a Hue/Sat Adj Layer to get rid of purple color in sign on Church (used a black layer mask and painted back just the sign in white). To see a different way I processed the same image, check out my Tidbits Blog called Lightroom 5′s New Upright Adjustments Section.
Used exactly the same workflow above except in the Topaz Simplify 4 preset, I also checked the Tones section and set the Tone Strength to .67. Some of the grasses did not look natural, so with a 30% soft black brush, parts of the detail in the grasses were painted back to give a more natural look and not so computer generated feel. I find Topaz does seem to do this if you do not get the Simplify slider set just right – that is OK because you will probably want to clean it up in Photoshop a little anyway. The Hue/Saturation Level was set to Colorize and a yellow color used (Hue 298/Saturation 63/Lightness -23). Then a Pastel Brush was used to paint the white blow out daisy flowers that now look yellow, with a couple pink colors to add interest. Several New Layers were created and the petals and edges of the petals were painted using pastel brushes with texture added and the Pencil Tool Watercolor Salt brush to paint around the edges of the flowers to give some additional texture to the flowers. This time two of Melissa Gallo’s Painted Textures were added on top – 2 for Friday Set 5 Green Lake texture set to Soft Light at 77% opacity, and Set 2 Creamsicle set to Pin Light at 37% opacity. Both had a Hue/Saturation Adjustment Layer clipped to them with the Saturation slider to -100 so no color, just texture, was added to the image. I used my free Default SJ Thin Double Edge Frame layer style to finish up.
Just one final image using the same workflow. This is a lovely little dasha in the countryside near the city of Minsk in Belarus – definitely has that fairytale look to it. The Simplify preset used was the Painting -> Dynamic Boost Warm preset, where the Simplify Size was set to 0.37, the Feature Boost to 2, and the Vignetting was turned off. I used OnOne’s PhotoFrame instead. On the Simplify layer, a layer mask was added and with a black soft brush set to 30% opacity, the detail was added back into the area where it was needed to keep it from looking too cookie-cutter. Used the Mixer Brush layer to clean up a few things. Some Curves, Levels, and Hue/Saturation Adjustments Layers to balance out everything and that was it!
It takes a while to get a really good look, but the plug-in definitely helps get you started. Hope this gives you a little bit of a workflow to help get started using this plug-in effect if you have not tried it before. I really love this plug-in – it is easy to use and easy to fit into an artistic workflow. I am not sure there are any other plug-ins on the market that do exactly what this one does. Lots of fun!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Getting a Nice Painterly Landscape Effect with Topaz Simplify and Texture
Using Topaz Simplify for That Artistic Feel!
Painterly Effect using Topaz Detail and Simplify
Topaz Simplify and Lens Effects Saves an Image!
This week I am just doing a post for the above image only – it took a long time to complete and I thought I would go over the workflow I used to create this rather current look. I have seen very similar images of famous cities around the world in large poster format. This is an image of the street outside the London Bridge Station in Southwark, London (Boroughs High Street). I took this shot, without getting run over for some reason, during a Scott Kelby PhotoWalk where I joined a British group. It was a total blast and if you have not participated in his PhotoWalks, it is definitely worth the time – great way to meet local fellow photographers and it is free. Below is the original image – I thought you might find that interesting. Not an image that would normally catch my eye.
So how do you get the final image effect? The original image was a good choice for starters since street scenes lend themselves nicely for this look – this particular image has lots of color and detail in it before doing anything to it. Lightroom 5 was used to do a couple things. In the Lens Correction section the new Upright function using the Auto button was first selected. This straightened the image up instantly. The next important thing to do was the crop. After that was done, just minor tone adjustments were made before it made its way into Photoshop. I am finding I use the Auto Upright button on almost all my images now. (See my Tidbits Blog Lightroom 5′s New Upright Adjustments Section.)
I decided I wanted a painterly look so the first place I went was to Topaz (see my Tidbits Blog sidebar for website link) Simplify 4 – this filter gives so many options and presets to try out different looks on your images. Here is what I did to get the image below. In Simplify the Oil Painting B&W preset was applied with the overall transparency set to 0.15 – the opacity of the Simplify layer was reduced to 69%. A white layer mask was added to bring back the detail to all the people’s faces. One of my favorite texture people, Kim Klassen‘s Gentle Whisper texture was added on top and set to Soft Light blend mode at 35% opacity. A Curves Adjustment Layer was used next with a very slight drag down on the curve to increase the contrast a little. I thought I was done and below is what I had created. It was starting to look pretty interesting.
I came back to the image a few days later and just started playing around with it. I actually did three other iterations before I got the final look I wanted. The final image was completed by first adding several steps to the file above, then flattening and finishing up on a different file – this was mainly because the file size was getting too large to handle.
Three layers were added to the second image file using three different grunge brushes and painting different colors into different parts of the image. I used a pinkish-red color for three strips, a light tan on a few of the distant buildings, and pink for the top edge where the bridge bottom shows. It really is not too hard to experiment around and get the look you want. I did use a Burlap texture with the brush to get a nice rough edge. Just be sure you put each color on a separate New Layer so you can play with the opacity and color after the fact. Next Topaz Detail 3 was applied using the Overall Strong Detail II setting – normally I would not use that much but a black layer mask was applied and just the signs were painted back sharp. The Detail was run again to get sharper edges where I needed them. When I do this, I paint on the mask using a 60 pixel brush set to 30% opacity – in fact this brush I use all the time. A New Layer was created to paint out the license plate numbers – just sampled the solid area and painted over them. This is the end of the first file. A composite layer was created on top (CTRL+ALT+SHIFT+E) and saved. The image below is where I am now at.
To get the final effect, the image had to be opened in Photoshop CS5 so Mike’s Kill White filter could be run from Adobe’s Pixel Bender filter which only runs on CS4 and CS5. This is one of the main reasons I have left CS5 on my computer. It is still the best filter for removing white in my opinion, and the one using Pixel Bender is better than their regular filter, which will now run on CS6-32 bit only. (Try removing the white in a layer and applying different layer styles or filters to it to get different effects.) Moving right along now, this file was opened in CS6-64 bit where I merged all but the top Kill White layer. On the Kill White layer, that shows holes were the white was, the layer style dialog was opened (double click outside thumbnail on the layer to open) and the Blend Mode was changed to Hard Light. The Blue Channels check box was turned off which popped in some nice cool gray colors that I really liked. In the Underlying Layer sliders, the black tab was split (ALT+click in the middle and pull apart) and set to 0/167 and the white tab was moved as one tab and set to 226. This adjusted the blue tone colors a little bit. The Fill Opacity was set to 55%. I still wanted more color splattered throughout the image but I did not want it to take away from the total image. A Pattern Fill Adjustment Layer (Layer -> New Fill Layer -> Pattern) was added above and several patterns were tried. I settled on one I would never have thought would work – flashtuchka-d3e5lmu floral vintage patterns using the 10flo pattern (a black, pink and white rose pattern) at 515% Scale. If you look at the upper right tones, you can see a bit of the flowers in the grunge effect. The opacity was set to 60%. Four layers were created on top using Kim Klassen’s brush 2204 from the brushes set in her Cloth and Paper Collection. Any kind of light spray textured brush would work fine. A Hue/Saturation Adjustment was added to get rid of any tones that were too yellow – it was ruining the overall effect. The Yellows Saturation was set to -74 and a black layer mask was added. Just the yellow items were painted out slightly using my 30% opacity soft round brush again. Also the faces were painted back to a more natural color. The last step involved adding a Composite layer on top and my SJ B&W Border Frame.
This may not be exactly what your taste is in art, but I hope I was able to give you some ideas on what you can do with an image by just playing. I really had no idea where it would end up, but by trying different effects, I was able to find something that is both personal to me and I would not mind hanging up in my home. I do not consider myself an artist in the strictest sense, but I do look at some of my work and feel that it does express an artistic flair that represents me, and that to me is art!…..Digital Lady Syd
This week I decided to do another texture blog, this time emphasizing some great resources that I have been lucky enough to find. I really enjoy trying out different types of textures on different types of images, and it is interesting to see how the various authors of textures create them and use them. What a wonderful field of photography!
The beautiful Belarusian Church above was photographed from a moving car out in the countryside near Minsk. The sky was major flat but thanks to a gorgeous sky texture by Cheryl Tarrant at Distressed Textures, the finished image turned out totally enchanting. What a surprise! I had never used her textures, but I follow her on Facebook where she had a great offer to buy some of her textures. This image was processed using Topaz (see sidebar at my Tidbits Blog for website link) Detail 3 (Overall Light Detail II preset) and Black & White Effects (SJ-Painterly Effect preset). The The Artists Palette-Drama set Dream I texture was applied twice, once set to Linear Burn blend mode and on a duplicate layer, to Multiply blend mode.
This little gerbera flower looked totally confused as to how it was supposed to look, but it really caught my eye because of that. I love this flower since it always looks like it is looking back at you. (See How to Turn a Brush into a Watercolor Brush, third image down for my take on this!) Kim Klassen uses very creative methods to make her textures – all very natural items and she pastes and paints and tears and pulls it all together to create absolutely incredible soft beautiful textures. I loved this video by Kim on Vimeo called The art of Texture Making – absolutely fascinating! She is a total master at setting up beautiful soft restful shots. By signing up for her newsletter, you get lots of beautiful textures to try out. Her website has several video tutorials on how she gets this great look, so if you want to just check out some new techniques, this is a great place. For a reasonable fee, you can get subscribe to her Test Kitchen and get even more video instructions and textures. So many of my images use at least one of her textures.
This image is an example of what I learned by using some of her textures and techniques. The basic tone and color adjustments were done in Lightroom following my basic RAW workflow (see How to Use Adobe Camera Raw (ACR) or Lightroom 4 Quickly). Then Topaz Detail using the Overall Detail Light II medium preset was applied. Topaz DeNoise 5 was applied setting the Overall Strength slider to .24. Next Kim’s beautiful Rue texture was added at normal blend mode and the flower painted out on a layer mask. Next her Revolution texture was added at Multiply blend mode and a layer opacity of 70%. Next text was added using Batik Regular font. To finish it off the contrast and color was corrected with adjustment layers. This was a pretty simple image to process since Kim’s textures made it look so pretty.
Moving on to another of my favorite texture makers, and what a totally different look and feel to your images when using them! Melissa Gallo at Painted Textures does some of the most fantastic painted textures you will ever find. What I like most about her textures is that I can never tell what results I will get until I apply the it – sometimes you get some of the most unexpected results! I love the way these textures give your image that fantastic painted look – very vibrant and beautiful texture effects! Another thing that is really great is that she has a 2 for $5 every month where you can try out something new on your images and at a reasonable price! Love this. Her site has several videos on how to use her textures in your images also. Used my 60-mm macro lens at F/2.8 to create this soft flower effect for the beautiful pink dahlias I bought to plant in my front yard (that is if the brown bunny that also lives in my front yard does not eat them!). Very easy image to process. Added Painted Textures 2 for 5 Friday Set 2 Seafoam texture, rotated and flipped it, and added a Hue/Saturation Adjustment Layer clipped to the texture layer (ALT+Click between the layers to create a clipped layer). The Cyans Hue was changed to -143; Blues Hue was set to -180, Saturation to -62, and Lightness to +51; and Master Hue set to -44 – this changed to the turquoise colors to light pink in the texture. Next a layer mask was added to the texture layer and the flowers were lightly painted out. A composite was created on top (CTRL+ALT+SHIFT+E) and Topaz Detail 3 was applied. (Here is what I applied: Applied Stylized Detail Collection -> Sunset I preset. Next went to Color and set Desaturated III and set Saturation Boost to -0.60. With Effect Brush set to Strength to 0.89, Brush Size 0.25, Hardness 1.00, Flow 1.00, Edge Aware 1.00, softly painted over the two flowers. The Overall Opacity slider was then set to 0.83.) A New Layer set to Overlay was created some of the focal lines were burned in (see my The Best Dodging and Burning Technique!) and the layer was set to 29% opacity. Next the text was added – in this case I used Kim Klassen‘s Dream brush but this could easily be done with a nice font. A layer style was added using a Stroke Effect at 3 pixels in a darker pink color; an Inner Glow Effect was used with the Blend Mode set to Normal, Size to 100 and a sampled medium pink color; and a Pattern Overlay added using my one of my free textures set to a scale of 295. (See SJ Impasto Smeary Flat – to convert to a pattern, open image in Photoshop and go to Edit -> Define Pattern – it will appear at the bottom of your pattern list.) Added a Levels Adjustment Layer and moved the midpoint right to 0.78 to bring back a little contrast and it is done. See my Tidbits Blog Painterly Red Berries for another example of her textures.
Another one of my personal favorite texture makers are those made by French Kiss Collections by Leslie Nicole. She adds very artistic effects using several different painting media. Her watercolor textures are one of my favorites, but she also does a great job with acrylics and oils. Her colors are vivid, but have a little different feel from Melissa Gallo’s textures. Once again, lovely color and texture.This beautiful bromeliad plant is yet another image from the local grocery store.This image was first processed in Lightroom using the normal adjustments. Lightroom’s Color Presets Cross Process 1 was applied using The Fader set to 56%. (See my blog Great Free Plug-in for Lightroom – The Fader!) Stacked on top is French Kiss Solstice Collection‘s Zest texture set to Vivid Light blend mode. A layer mask was added and the plant was lightly painted back using a soft black brush set to 30% opacity. French Kiss Solstice Collection Ebullience set to Normal blend mode at 100% opacity was used. More painting on a layer mask was done before a Curves Adjustment Layer was clipped to the texture to add some contrast (ALT+Click between the layers to clip). A Hue/Saturation Adjustment Layer was used to change the Yellows channel Saturation to +33 and clipped to the top layer also. A Levels Adjustment Layer was added on top to the whole image to increase the contrast just a little by moving the center tab to 1.03. See my Tidbits Blogs Checking Out French Kiss Textures and Hibiscus Beauty for other examples of her textures and overlays.
….. So here is a photo that uses three of my favorites texture groups, and I find I do this a lot in my images – that is what makes your image unique and interesting. These zinnias were treated with all kinds of things! I used David duChemin’s Milford Greens + Grad-.33 Lightroom preset. I love his inexpensive set (see my 2012 Inexpensive Gifts for the Photoshop Lover on Your List blog – number 10 for link). Once in Photoshop Topaz Detail 3 was applied twice – once for sharpening, and once applying the Abstraction I preset and painting out areas to get the soft flower look in the background area. Distressed Textures The Artist’s Palette – Drama Tawny Skies texture set to Hard Light; next Kim Klassen’s Cloth & Paper Touch texture (one of my all-time favorite textures!) set to Multiply at 36% layer opacity; and finally another of my favorite texture groups – 2 Lil’ Owls Studio‘s Enchanted texture from the Workshop Bundle below set to Overlay at 45%. I love their Mosaic Textures – use them all the time but they have a whole lot of other interesting textures to choose from. I also got their Texture Workshop Ebook Bundle, which teaches you how to use textures using some different techniques and has some very nice textures supplied. (Here is link to one of the images that used a different Workshop texture and here is a Mosaic Texture image example.) Very nice website.
I will list a few others that I have not discussed but I really enjoy their textures.
1. Needless to say Shadowhouse Creations – he is brilliant and has absolutely some of my favorite textures and they are all free. This guy is fabulous for sharing his expertise and his textures.
2. Flypaper Textures – another wonderful texture group that are once again gorgeous and have their own feel to them. Check them out!
3. Don’t want to forget Sarah Gardner – I learned a lot from her book Art Beyond the Lens. She also has a pdf magazine called Beyond the Camera that is always interesting. And of course her textures are great also.
4. Lost and Taken Textures by Caleb Kimbrough is another free texture site (although donations are requeted) that has some highly unusual textures – not always what you are looking for – but then you come across one that is so unique and beautiful! Here is a link to some textures I have used for years.
5. Check out Chasing Dreams Photography has some very nice textures. I am not as familiar with them but they appear to be very good.
6. Isabelle Lafrance Photography is another wonderful website chocked full of goodies and textures. It is another great texture resource and I have had the opportunity to use her textures and overlays a couple times – very lovely.
7. Florabella Collection has many textures besides her very famous actions to choose from. Definitely check them out.
8. Iron Owl Designs is one I just found out about and it looks like they have some great textures. This is a site I am hope to look at soon.
9. For some high-end priced textures, check Jesh de Rox site – he has gorgeous textures and images to see how they look applied!
10. Mark S. Johnson Photography has recently created some very nice textures that can be purchased on his website along with several nice blogs and videos on how to use textures in your artwork.
You can also find many flickr sites (check out The Golden Textures High Quality site for a good place to start) and deviantART (just do a search for textures) sites that offer some beautiful textures for free – just be sure to read how you may use the textures before placing your images all over the internet. There are so many beautiful textures out there. A great resource for finding new people creating textures is to follow Texture Photography Masters – the group, where many participants show some beautiful images and what textures they used. Also, don’t forget Russell Brown’s Paper Texture Panel Updated!- can direct it to your favorite textures to try out real fast!
I like that I have so many choices from so many wonderful texture vendors who have so many different ways of approaching and applying textures. I have learned so many different techniques and am still sorting out what works best for me and what kind of look I want to pursue. I hope I have been able to direct you to some new resources for getting the look you want. It is a lot of fun to try them all out! Have fun experimenting!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Using a Couple of My Textures
Tips for Flower Textures
Creating That Vintage Texture Feel
How To Create Unique Watercolor Background Texture
Creating a Healing Brush Background Texture
Just click the Texture Category on the right hand side for posts using textures to see more examples and links.
Check out my Tidbits Blog and click on the Textures Category for more examples and short blogs.
I first reviewed this plug-in with its initial release back in my Topaz B&W Effects Plug-In – A Real Winner! blog where I cover lots of things I still like about this plug-in. Behind Topaz Detail 3 and DeNoise 3, plug-ins I consider essential for any image, Topaz (for website link see my Tidbits Blog sidebar) Black & White Effects is my next most used Topaz plug-in – even more than Adjust. And black and white treatments are not the first thing I think about when using this plug-in – I think creative expression (as you can see by this and my related blog posts). It is a very easy way to adjust the tones and color effects without having to do more manipulation later in Photoshop, which is usually required with other black and white plug-ins. When I am stuck on what to do with an image and nothing seems to look right, I can almost always find the answer in Black & White Effects – it never ceases to amaze me what it can do with an image! The actual black and white effect creates very good results also. I loved the original version so to me the newer release is just a better and updated version of the original. It now supports very clear large thumbnail views of the large number of presets (over 200) that come with the program. It has a cleaner interface that is more in line with Lightroom (which I think has the best interface of any program) and its competitors.
The image above shows an example of how I like to use this plug-in. The Traditional Collection’s Warm Tool II preset was used as a starting point. In the Basic Exposure section only the Contrast and Brightness was changed slightly. The Adaptive Exposure slider was increased to 0.16 and the Regions was changed to 15.10 – these two sliders are usually where all the Topaz magic occurs when adjusting image exposure. In Local Adjustments, several different brushes can be applied to the image at different overall strengths. A Detail brush was used to paint over the cups, a Smooth brush was applied to the reddish hanging jacket and white sack, a Burn brush was added over the white sack to tone it down a bit, and a Dodge brush was used on the top cup to make it show up a little more. Only the Color brush was not used above, which can really give an image a very special effect. The final step in the program was to set the Overall Transparency slider to 0.35. For more info on the image processing, see Image 1 at end of blog.
WHAT I LIKE!
1. Price! Price! Price! This program has all the features of the other programs and is a great value if you are not specializing in black and white photography. All the bells and whistles are there. And the guarantee that you are will receive free upgrades – this is a no-brainer in my opinion. I got the upgrade for free and this guarantee is true with all their plug-ins. I do not know of any other software developers that offer this type of program. In fact recently, Topaz released a version 2.1 to add more depth to the program.
2. The Quad Tone section is, in my humble opinion, the major reason this program is better than the others. No one offers these Quad Tone sliders for changing the color combinations (except in Photoshop itself using an 8-bit flattened Grayscale, then to Indexed mode) – this is just plain unique! It also is one of the major reasons the unusual soft effects can be created quickly.
3. There is now a full screen window that shows all the presets on large thumbnails of your image. It makes it really easy to compare the various effects from the different presets. And it will also do this on your own My Collection presets and your Favorites. Very handy! If you do not want to do this, a larger thumbnail will appear with the effect applied to your image as you slide over the list of presets.
4. One little feature it now has, and that I love, is the ability to leave each panel open so you can go back and forth without opening up each section every time you want to adjust a slider. Lightroom has always had this capability and it can be very handy to have various panels open. This can be turned on and off in Preferences if you do not like it, but I think it is great feature.
5. The Overall Transparency slider (which maxes out at only 50% of the color in the image) – use this with the Localized Adjustments Color Brush and you can get some wonderful soft color effects on your images. This combination cannot be done near as easily in other programs.
Version 2.1 Update
6. My biggest complaint was answered – Topaz put in an Apply button so you can stack your effects. This allows you to create special Quad Tone presets and Diffusion setting presets that can be applied to an image after you have created your basic black and white image. What a great feature to have – now you do not have to go out of the plug-in and re-enter – it can all be done at once!
7. Another great addition - I particularly love the Silver and Paper Tone presets shown as drops of color at the top of the right panel in their new Quick Tools section. These can create some beautiful subtle changes to your image. And once again you can set up special preset effects just for this section to use after the original effect has been created. The Color Filter presets are very nice to have handy also.
8. They added many more variations in a drop-down list for black and white borders that makes this section much more functional. It still has a size slider to adjust how large to make it on the image. I will probably use it much more now.
WHAT I DON’T LIKE!
Topaz has been really great about adding new features to this plug-in, so it does not have too many things I do not like, but there are a few.
1. I have a problem with the Adjustment Brushes totally disappearing. This happens when using a brush tool(s) on your image, and you switch to another section to and change a slider in a any of the other section, like Diffusion Effect for example, leaving your brush panel open. When your return to the Localized Adjustments section the brushes will not appear even. This was a problem in some of the Beta versions and that was fixed but reappeared again in this latest version. Why let you keep the panels open if they do not work when you return to them? I have put in a comment on this in the forum so hopefully this will get fixed soon. This should be an easy fix for Topaz. The work-around is to totally close up the brush panel by clicking the little down arrow next to the number 3 Local Adjustments section (do not worry, your original brush strokes will remain), and re-open it up again. Your brushes will now start working again.
2. Wish they would put an Tone Effect slider for the Quad Tones section so just that area could be adjusted. This is available in Adjust5 and Simpify4. It would also be nice to have a Strength Slider active for the Color Brush, as it is for all the other brushes.
3. Watch out after applying an effect that used a Localized Brush – the brushstrokes are not reset after an Apply. This can really mess your next effect you are adding. Just be sure to reset the section if you do not want the same brushstrokes applied again. (This also happens in Topaz Adjust 5 and Simplify 4, but does not happen in Topaz Detail 3 with the Effect Mask.)
4. Still having trouble getting the correct basic settings back when using the image as a Smart Object – I cannot get them to stick. The Last Used preset usually appears from when the program was last opened. I feel this is the weakest point with all the recent Topaz plug-ins. If there are settings I really need to remember, I create a preset or create in Notepad a list of my setting to copy into a Note in Photoshop (sits with the Eyedropper Tool).
5. Little personal complaints here: I miss the old preset image that was on the top left. Sometimes the large thumbnails are just too much and stick a bit more than I like and it would be nice to have that choice back. That is just my personal opinion. Please make a larger Apply button at bottom like in the other programs. Another little request of mine. Please move the size icons back to the right – I do not like going up to the top of the middle of the image to increase to 1:1.
I guess I am sounding a little critical in this blog, but this is such a good plug-in that I would really like it to be perfect. I know Adjust is Topaz’s best known plug-in, but this B&W Effects has the ability of being one of the best ever created with just a few tweaks. There are some other really nice features too. There is now a Curves Tool section and a nice selection of curves to choose from in a drop-down list which other programs do not offer – this is very handy if you are not liking the way the image looks and need to add some quick contrast. It still has the Diffusion section where the Softness, Diffusion and Diffusion transition can be adjusted gives a slight softness to the whole image – add the detail back in a specific area by using opening the Localized Adjustments and selecting the Detail Brush. This is a wonderful addition to your images and also appears to be unique to B&W Effects. Usually this is found in a color effect plug-in. Another add-on that has been included is a Zone Mode (click the Z at the top right which changes the navigation window into a histogram). By clicking on a number underneath, you can see by different colors which areas are part of that zone on your image. Since I am not into black and white and the Ansel Adams effect to that extent, it is probably not a feature I will use a lot, but many people will find this extremely useful.
If you have other Topaz plug-ins, you will find they all have very similar interfaces and the learning curve is pretty quick for this plug-in. As you can see from my selection of images and previous blogs, I really like the artistic flair this plug-in can add to an image for a needed pop. It is especially strong with the vintage feel. Since I own the other plug-ins and I have been comparing results, I cannot find any areas that Topaz has missed for those interested in doing straight black and white conversions.
……These begonias were just ending up too bright for my taste. To tone it down subtly, as a last step this image was opened up in Topaz Black & White Effects II using a preset I created in the first version that I call SJ Vintage Feel (all my old presets were moved upon updating). This preset contains these settings for Basic Exposure: Contrast 0.06, Brightness 0.06, Boost Blacks 0.26, and Boost Whites 0; and Finishing Touches: Silver and Paper Tone – Tonal Strength was set to 0.64, Balance 0, Silver Hue 12.29, Silver Tone Strength 0.85, Paper Hue 43.90, and Paper Tone Strength 0.38. The Overall Transparency slider was set to 0.55. It gave the soft feel that I needed with just a few clicks. This is something that I cannot do as easily if at all in the other black and white plug-ins. See Image 2 below for more details.
…..Another image from the Native American Festival. These beautiful leather purses being sold by a vendor looked a little overcome by color in the original RAW image. But by using the Black & White Effects plug-in, it becomes much more interesting to view. For the post processing in this image, all I did was click the reset button down at the bottom of the right-hand panels. Then I just went into each section and adjusted each slider until I liked what I saw. One section to look very closely at is the Adaptive Exposure and Regions sliders in the Adaptive Exposure section – these two sliders will give some very good results (this is true with any Topaz filter that has these sliders – always check them out). See Image 3 below for more info.
These beautiful pink dahlias were so easy to process. It was hard to decide which version to present but this was basically created by combining a very rich texture with Black & White Effects. I used a preset I had created called Hawaiian Morning uses my favorite Quad Tone section to get the results that are always spectacular. See Image 4 below for preset settings if you would like to them. The Black & White Layer was set to a Hard Light blend mode at 75% opacity so the original image is still preset.
To create my rather dark sepia toned image, Black & White Effects was applied to the image layer and also to one of the texture layers. The Platinum preset was applied with a Diffusion effect added, and then used a Detail Brush to bring back the fairies face. Another preset was applied to add a Quad Tone effect to the image for the nice sepia feel. See Image 5 information for more details, including my preset settings. A colorful texture was added in Photoshop on top of the fairy layer, and another of my old presets was applied to it to give it a similar color tone.
…..I took some artistic liberty on this image of the Towers at Westminster Abbey in London. I wanted to make the picture look different from what everyone else has. My first step once in Photoshop was to go to Topaz B&W Effects 2 and just added Traditional Collection High Pass I with the Creative Effects Diffusion – Softness slider at .16 and Diffusion slider at .14. Then three textures were added to get the final effect. See Image 6 info for more.
Bottom line – if you want a black and white plug-in, this is a fabulous way to go without spending so much and you get all the added color options. This program is one of the most powerful in the Topaz line-up in what it provides and the new upgrade just gives it a fresher look. It is still a solid contender as a black and white plug-in. It is definitely worth a second look if you want to add some creative aspects to your images. Check out my related blogs below – there are many different Quad Tones settings you may like. Definitely try out the trial and see what you think!
Sorry for the long post, but this is really that good a plug-in so I felt it needed to be reviewed thoroughly……Digital Lady Syd
Digital Lady Syd Related Blogs – check them out to see how I used this plug-in in different ways:
Digital Lady Syd’s Rule No. 7: Check Out Your Local History
Clowning Around with Topaz!
Where Am I?
Hibiscus Flowers – I Love to Photograph Them!
Black and White Effects on Outside Art
Cleaning Up a Messed Up Photo
Topaz Black and White Effects Quad Tones Are Great!
The Art Corner: Painting and Sculpture by Tassaert
Sunny Preset for Topaz Black and White Effects
Quad Tones in Topaz Black and White Effects Plug-in
Image 1: Topaz Detail 3 using the Overall Medium Detail II preset was applied – a layer mask filled with black was added and the mugs were painted back. Next Topaz Black & White Effects 2 was applied using setting discussed above. Kim Klassen’s Return texture (sign up for Kim’s newsletter and get several of her beautiful textures including the Return texture used in this image) was added with a 78% layer opacity – a white layer mask was added and the center of the image softly painted back into view. Next French Kiss Artiste Breeze texture was set to Overlay and 53% opacity. 2 Lil’ Owls Bonus Texture 4 was used as a border in white that was placed around the image. A Curves Adjustment Layer was the last step to add some contrast back into the image.
Image 2: This image actually used Topaz Detail 3 twice and localizing the effect on the flowers. Also some leaves had to be added to cover some rather ugly tissue paper that was sticking up. Three textures were stacked: 2 Lil’ Owls Mosaic Set Destine texture was set to Soft Light at 100% opacity, Kim Klassen’s Cloth & Paper Texture Florence set to Soft Light blend mode at 47% layer opacity, and French Kiss Artiste Avril texture set to Overlay blend mode at 29% opacity. A Curves Adjustment Layer was applied and the Auto button clicked to get the good colors. Then the Black & White Effects plug-in was applied as stated above.
Image 3: This image was very simply processed. Just used Topaz B&W Effects 2 to begin with using settings under image, then added a slight S Curves Adjustment Layer and painted out the two purses in the middle to add focus. Next a Levels Adjustment Layer was added with the middle tab set to 0.65 and the Output Levels set to 41 to soften the image just a little.
Image 4: I bought these dahlias to plant in my yard, but before I did, I took their picture using a kid’s bent white poster board for a background. It was then easy to add a painterly texture to the image without any distractions in the background. Mellisa Gallo’s Painted Textures 2 for 5 Friday Spring Sky texture was added. The Dahlia layer was duplicated, moved on top, and set to Soft Light blend Mode at 100% opacity – this removes all the white areas so the texture shows through. A Levels Adjustment Layer was clipped (ALT+Click between layers) and the Output Levels were set to 0 and 229 to lighten the image a little. Next I used created darken and lighten layers to dodge and burn on the flowers (see my The Best Dodging and Burning Technique! blog). A composite layer was created on top (CTRL+ALT+SHIFT+E) was placed on top where Black & White Effects was applied. (Here are the settings I used: Adaptive Exposure: Adaptive Exposure 0.41, Regions 26, Protect Highlights 0, Protect Shadows 0, Detail 1.11, Detail Boost 1.09, and Process Details Independently; Quad Tone: Color 1 Region (R1/G1/B12) at 15.08, Color 2 Region (R63/G78/B85) at 143.9, Color 3 Region (R216/G211/B129) at 227.5, and Color 4 Region (R255/G254/B237) at 255.0; Vignette: Vignette Strength -.039, Vignette Size 0.83, Vignette Transition 0.58, and Vignette Curvature 0.70.; and Transparency: Overall Transparency 1.00.). Once back in Photoshop, in the Layer Style Advanced Blending section, the B Channel was unchecked which gives a bluish tint to the whole image. The layer was set to Hard Light blend mode at 75% opacity.
Image 5: Once out of Lightroom, Black & White Effects 2 was applied using the Platinum preset and changing Adaptive Exposure slider to 0.42. Next the Diffusion section was opened and the Diffusion slider was set to 0.79. In the Located Adjustments, the Details Brush at 0.50 opacity was used to paint detail back into the fairy’s face and hair. These settings were applied. Next a Quad Tone preset was applied and set to an Overall Transparency of 1.00. (Here are my SJ_Quad_DkB_Gr_Yel_Wh preset settings: Color 1 Region (R1/G1/B12) at 15.08 ; Color 2 Region (R63/G78/B85) at 143.9; Color 3 Region (R216/G211/B129) at 227.5; and Color 4 Region (R255/G254/B237) at 255.0.) Back in Photoshop Kim Klassen’s Framed texture was added on top and set to Soft Light at 100% to get the slight edge around image. Next Kim Klassen’s Abstract Texture was added and taken into Black & White Effects 2 where my SJ Partial Color Look preset (one of my favorites) was applied. (Here are the settings for this preset if you would like them: Basic Exposure: Contrast 0.10, Brightness -0.02, Boost Blacks -0.10, and Boost Whites 0.50; Adaptive Exposure: Adaptive Exposure 0.64, Regions 50, Protect Highlights 0.02, Protect Shadows 0.02, Detail 2.28, Detail Boost 1.00, and check Process Details Independently; Quad Tone: Color 1 Region (R16/G15/B11) 7.46, Color 2 Region (R79/G78/B68) 83.33, Color 3 Region (R159/G156/B143) 164.2, and Color 4 Region (R255/G254/B242) 255.0; Film Grain: Grain Kodak TMaxPro 100, Grain Contrast 1.25, and Grain Size 32.50; Vignette: Vignette Strength -.058, Vignette Size 0.92, Vignette Transition 0.28, and Vignette Curvature 0.11; and Transparency: Overall Transparency 0.67). This layer was set to Soft Light blend mode at 43% opacity.) Now just a Levels Adjustment Layer and a couple text layer using free Radium J and Batik Regular fonts.
Image 6: The three textures used in the image were: Melissa Gallo’s Painted Textures Winter Storm set to Linear Burn blend mode at 42%, Taupe Canvas set to Linear Dodge at 48% opacity, and Confetti set to Color Burn at 60%. These textures were all obtained from her specials such as Black Friday or 2 for Friday specials.
This week I decided to give a few examples of how I am getting the beautiful painterly look on images. This is the part of Photoshop I love the most – the creative part. And this is where I can take advantage of some wonderful plug-ins and textures that are now available.
I did not start out creating this fantasy painterly looking image, but I like it more the more I look at it. This image used just a basic cloud texture and Topaz (for website link see my Tidbits Blog sidebar) Simplify 4 to get this dreamy effect. The image uses 5-shots taken along the road to Flagler Beach, Florida. I have always loved this house – it just looks like a Florida beach house to me. The HDR tone-mapped image was created using Photomatix Merge to 32-bit HDR in Lightroom and the resulting Tiff file was then processed. Once opened in Photoshop, Topaz Detail 3 was selected where the Lighten preset was first applied, and then the Overall Medium Detail II preset with the sky painted out to keep it smooth looking. Shadowhouse Creations beautiful free Puff Clouds texture was added in Normal blend mode at 100% opacity. I added a layer mask and painted out the clouds and started getting this really dreamy look by only removing the clouds from the house. Next Painted Textures 2 for Friday Seafoam texture was added and set to Overlay blend mode at 50% opacity. The last step involved creating a Composite layer of all the layers (CTRL+ALT+SHIFT+E) and applying Topaz Simplify 4 Painting V preset to it. On a New Layer above, a Mixer Brush was used to blend in the rough edges of the clouds and give an overall painterly look. A Curves Adjustment Layer was added and the Blue Channel Curve was moved to get the color of blue in the image. That was it! Not real hard but definitely a very abstract artsy look. This was a lot of fun to create!
Tips for Getting the Painterly Look:
- If you like to get a quick painterly feel, Topaz Simplify 4 cannot be beat! The nice thing is that once you apply the filter, even though it may look somewhat canned, you can always use Photoshop’s Mixer Brushes, layer masks, and various textures to make the image your own look – that is exactly what I did on the image above. Topaz Adjust also has several presets that can also give a very nice base painting look. See my blog Digital Lady Syd Reviews Topaz Simplify 4 for more information on this blog.
- I cannot say enough about using the right texture. Most of the sites I listed have either free or fairly inexpensive small sets to try out to see if you like what they do. Try different textures, and when you find a few you really like, put them together in a special file so you can get to them quickly when needed. (Click on Categories Textures for several links on this topic.) If you like what the color is doing to an image at a particular blend mode, leave it in place. With a layer mask you can paint in localized areas of texture.
- Photoshop’s Mixer Brushes just cannot be beat for getting some really nice artistic results. They are great for hiding that very contrasty background, or for smoothing out edges, or blending colors that have too sharp a transition. The pink flowers below have the whole background smoothed to get rid of a very contrasty green garden behind them. On a separate layer, a larger sized Mixer Blending Brush was used to fill in the dark contrasty areas, then a smaller size was used to smooth edges. You can always erase areas where you make a mistake since the Mixer Brush strokes are on a separate layer. A couple things to remember when using the Mixer Brushes is that (1) in the Options Bar be sure you are set to Sample All Layers and turn off the layer eyeball if you do not want to pick up color from some of the layers; (2) the Blender Brush is probably the type to be used the most and should be set to a higher Wet field in the Options Bar to work easily – at least 20% and up to 100% give really nice results; and (3) the larger the brush, the longer it takes to lay down a stroke so keep it under 75 pixels if you can. Also take History Snapshots every now and then (or add a Padlock to your base image so you cannot paint on it) so if you get on the wrong layer, which is easy to do, you can go back to a previous step without losing all your previous painting. If you want to add color with a Mixer Brush, just click on the “Load the Brush After Each Stroke” icon (5th one over) in Options Bar. Make corrections with layer masks and apply them (right click and choose Apply Mask) as you go along. Create clone and paint on layers above and merge down (CTRL_E) – then use a Mixer Brush to blend. See my blog Adobe Photoshop CS5′s Mixer Brushes for lots more info on how to use them.
- There are a couple other ways to get a really nice painterly effect. The brilliant Russell Brown has developed two scripts panels to use inside Photoshop that guides you along as you paint. The oldest is called the Adobe Painting Assistant which has different download links for CS6 and CS5 versions – just keep scrolling. The newest panel is the Adobe Watercolor Assistant Panel that can only be used with CS6. These are all free downloads at this link. The Watercolor Painting Assistant takes some practice to get a really nice result, but it will give a beautiful result. See my blog Dr. Brown’s Painting Assistant Panel for CS6 and CS5! and Think Pink! Rally for the Cure Pink Rose for more information on the older and more user-friendly Painting Assistant Panel.
- The last effect that has proven to be a real hit the last couple of years is the new Oil Paint filter in Photoshop CS6, although it can be added to CS5 by using the Pixel Bender Panel. See my blog Photoshop’s CS6 (and Pixel Bender’s) Oil Paint Filter for more information on how to use this filter. It is a lot of fun and easy to do!
To create this painterly effect, the pink Belarusian flowers were brought into Photoshop and cleaned up. A New Layer was created and Fay’s Signature Watercolor Smooth Blender Brush was used to smooth out the whole contrasty background. I have looked at lots of painting tutorials and Fay Sirkis tutorials make the most sense to me. If you are a member of NAPP (National Association of Photoshop Professionals), and you should be if you love Photoshop – best value and site for Photoshop nuts, Fay has several great webinars on line there and you can download all her brushes. Here is a link to a great article on her unique technique where she shows how she made one of her Monet Blender brushes – if you want to give it a try – Fay Sirkis: Painting Magic, Adobe Photoshop CS5. Next Kim Klassen’s Cloth & Paper magicfilm3 texture, which is a black scratched up texture, set to Linear Dodge blend mode at 56% opacity was added – it gives just a touch of texture without losing all the strokes from the Mixer Brushes. The Sharpen Tool was applied to the center of the two main flowers to draw the eye and a Darken Layer was added and set to 56% to emphasize edges. (See my The Best Dodging and Burning Technique! blog for more info on this.)
The painterly effect in the Flagler Fishing Pier image was created using a solarized preset and some soft painting with the Mixer Brush. Just had to get out and do a little shooting even though it was major chilly and windy at the beach. The original image was created from 5 images put together using Photomatix 32-bit Merge to HDR for Lightroom. Once in Photoshop I added two New Layers and added my Cloud Brushes SJ Clouds 1 brush (layer set to 60% opacity) and SJ Clouds 11 brush (layer set to 35% opacity) at 5000 pixels. A New Layer was added on top and filled with black, set to Soft Light, and the opacity set to 23% to increase the overall contrast of the image. (Check out Mark S. Johnson’s Photography Site Photoshop Workbench 374: Creating Dramatic Lighting with Blend Modes on how to do this.) A Curves Adjustment Layer was added and Auto button pressed to get a nice contrasty image. Next Topaz (for website see sidebar) Adjust 5′s Solarized Dreams III preset was applied with Detail Strength set to 0.82 and Detail Boost set to 0. A New Layer was created and Fay Signature Watercolor Smooth Blend Mixer Brush was used to smooth out details in the foreground sand. A Selective Color Adjustment Layer was used and the Blues Cyan was set to +17 and Yellow to +24 – the layer mask was converted to black (CTLR+I inside the mask to invert) and the sky was painted back with a soft white brush. Another Selective Color Adjustment Layer as added to make the sand look the right color in the foreground – Yellows Cyan was set to +100, Magenta -14, and Yellow +1, and Greens Magenta +19. Next French Kiss Artiste Fauve Rainbow texture was set to Hard Light blend mode at 28% opacity. A Hue/Saturation Adjustment Layer was clipped (CTRL+click between the layers) and Saturation was set to -100 to remove the color from the texture but leave the canvas look. This is one of my favorite textures to give a real painted appearance to my images. A Levels Adjustment Layer was added and the center tab set to .85 to add just a little more contrast to the midtones. I really was surprised how painted this image turned out.
This image uses Topaz Simplify 4 again and textures to get the painterly look. I decided to show this image as it is a favorite technique of mine to use the power of good textures to give that painterly effect. The basic image was very nice with to begin with and probably would have been fine with just the Lightroom tweaks, but I thought it would make a beautiful painterly piece. Topaz DeNoise was run on this image since it had a 2000 ISO setting. On a duplicate layer Topaz Simplify 4 was applied using the Watercolor II preset – in the Localized Adjustments section, the pink and white flowers were lightly painted back to bring back some detail but leaving the background with a very soft look. Once back in Photoshop the detail was still not strong enough so the DeNoise layer was duplicated and placed on top of the Simplify layer. A black layer mask was added and the flowers were softly painted back using a white low opacity brush to add a bit more localized detail to the image. Two beautiful textures from Melissa Gallo at Painted Textures were added on top: 2 for Friday Set 2 Creamsicle at Hard Light blend mode at 74% opacity, and Cyber Monday Set 1 Winter Wheat set to Linear Light blend mode at 78% opacity. On the top texture a Layer Style was opened and on the Blending Options page, the B channel was turned off. One of my new favorite textures is by French Kiss – Studio 3 White Wash – it was added using the Overlay blend mode at 65%. All of these textures are really great for getting the painterly effect. Once all these textures are added, you really have to try different blend combinations and opacities. It is not at all unusual to have to add a layer mask and paint out areas that are not working right. In this image I added a layer mask to the white wash texture and painted out just a little bit around the edges of the flowers to get them to stand out a little. In fact I had actually added a different top texture and decided I did not like it and started looking for a different texture when I came up with the white wash texture. I had to back and add a Mixer Brush layer to get rid of some distractions in the original image once the textures had been added and it looked bad. If you do not like the way the painterly effect is flowing, it probably is not quite right and you need to walk away and come back again later – it really is a work of art you are working on.
If you just want a nice painterly brush texture on top of the whole image, check out my Getting a Nice Painterly Landscape Effect with Topaz Simplify and Texture for a short workflow – this gives a nice finishing look to an image if there is not enough of a painterly effect already.
I hope you got some new ideas for creating that artsy look. Check out some of my related blogs for more examples and resource links that might help you along. This was a lot of fun to put together this week and I hope you enjoyed it!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Digital Lady Syd’s Rule No. 6: Try Something New!
Photo Art Compositing For Fun
Digital Lady Syd’s Photo Art Workflow
Using Topaz Simplify for That Artistic Feel!
Using a Couple of My Textures
Simplifier and Simplify Filters
Topaz Adjust Using Painting Venice Preset – Beautiful Effect!
Topaz Simplify and Lens Effects Saves an Image!
This week I decided to just display a few of the beautiful images I got from the 24th Annual Native American Festival in Ormond Beach, Florida this past January. If you get a chance to go to a Native American event, it is a great place to photograph unusual items and the colors are wonderful! This headdress was one of the most beautiful things I saw. Topaz (for website link see my Tidbits Blog sidebar) Detail 3′s Overall Strong II preset was applied first. Topaz Simplify’s BuzSim preset was applied to a duplicate layer. With a soft black brush on an added layer mask, the edges of the feathers were painted back in showing the layer below. A composite layer was created (CTRL+ALT+SHIFT+E) on top and Topaz Adjust 5′s French Countryside preset was selected. The layer mask for the Simplify layer was copied by highlighting it – press ALT and drag it up to the Adjust layer. Next Kim Klassen‘s texture 1612 (beautiful texture that was free by signing up for her newsletter) was left to Normal blend mode at 89%, but a layer mask was applied to the texture and the center painted out to clear out the middle. A Curves Adjustment Layer was used to lighten the image up just a little. A New Layer was added to burn in and define some of the feather edges where they overlap in the image. (See my Fun Photoshop Blog The Best Dodging and Burning Technique! for more information on how to do this.) The last step involved adding my free SJ Painter Oil Frame to the image with a Bevel and Emboss Layer style (check Texture and set Scale 100% and Depth +79} – used my SJ Smudge Texture set to grayscale for a pattern, but any gray and white pattern would be fine). The frame was set to 72% opacity.
These Rawhide Rattles are something I do not ever remember seeing before. One of the vendor’s had this assortment for sale. The image was first processed in Nik Color Efex Pro 4 using three filters stacked: Detail Extractor, Midnight set to Neutral Color Set and Opacity of 67%, and Monday Morning using Sepia Color Set at 80% opacity – kind of an unusual group. 2 Lil’ Owls Workbook Bonus Texture 16 was applied using Soft Light at 100% opacity. In the white layer mask, some of the detail was brought back on the left rattle. Basically that was all that was done to get this very antique look.
This image of a Mexican Aztec dancer was a little difficult to process due the fact that there were a lot of distractions in the background, and his face was not real clear and needed a lot of clean up. The feathers in his headdress were so beautiful that I really wanted to process the image. Therefore, first the headdress was carefully extracted the Quick Selection Tool and Quick Mask Mode, and Shadowhouse Creations Rage Texture was placed behind him and set to Normal at 100% opacity. Topaz Adjust 5′s Painting Venice preset and Topaz Detail 3′s Overall Detail Medium II preset were applied. A Selective Color Adjustment Layer was used to adjust the Reds and Yellows in the image. A frame was added and set to a tan color.
This was a wide assortment of Native American toys that were on a bright red tablecloth. I decided it would look better as a sketch with toned down colors. In Photoshop a Curves Adjustment Layer was used to make the image overexposed. Topaz Simplify 4 was added and a preset was created using a painting preset as a starting point and Quad Tones of Black/Deep Red/Gold/Light Yellow tones were applied at a Tone Strength of .57. An Overall Transparency of .31 was applied. I ran Simplify 4 again on a duplicate background layer and this time applied a light black and white preset. Back in Photoshop it was stacked it on top of the first Simplify layer and set to Soft Light. A Hue/Saturation Adjustment Layer was placed on top where Reds Saturation was set to -41 to desaturate the color slightly. Kim Klassen’s Mary texture was applied using Normal Blend Mode and just painting out the center of the texture in a layer mask. As a last step, a Curves Adjustment Layer was applied using the Auto button to even out the colors and contrast. I think it gives a really nice sketch look and is appropriate for the various types of objects that were being displayed.
These are feather headbands that were also being sold by a vendor. This is a funny story as I would never have used these settings if not for some spam I received from a comment that referenced how he added texture to his images. Here is the result I got from following some of the process. First Topaz Adjust 5′s Spicify preset was applied at 83% opacity. Next apply Topaz Simplify 4′s Watercolor II preset. Changed image to an 8-bit mode and went to Filter -> Stylize ->Diffuse Filter and selected anisotropic. Exit filter and rotate document -90 degrees counter clockwise using Free Transform (CTRL+T). Apply same filter again. Exit and rotate image clockwise +90. Apply the filter for a third time. Now go to Filters -> Texture -> Texturizer and set texture to Canvas, Scaling 200%, Relief 7, and Lighting Top. A Hue/Saturation Adjustment Level was applied increasing the saturation to +30 and a Curves Adjustment Layer was applied to increase contrast. Kind of a strange technique but I really liked the results.
I hope you enjoyed these images – nice to do something a little different. Have a nice week!…..Digital Lady Syd
I loved the way this image turned – the kind of art I like to do! These orchids were sitting backwards in the grocery store and it just struck me how interesting they looked from this angle. So here is the shot I got with my little point and shoot. Since it was not the best quality image, I had to do quite a bit of manipulating to it and that included some major dodging to clean up the lines in the image. I can’t tell you how much I rely on Lightroom to help me clean up these JPGs from this little camera. There is no way I could get them looking this good without it. I did two major things in Lightroom – added David duChemin’s Lightroom 4 preset Honey on Land which turned the really purple and white flowers into rich pink and gold colors. Next I used the Lens Correction panel set to Color and manually defringed this image. It had some pretty bad yellow fringing going on. To fix this, the Remove Chromatic Aberration box was checked, and using the Fringe Selector Tool, the yellow area was clicked as a starting place. The final Amount for the Green Hue was 3 and the Green Hue tabs were set to 0/19. Unfortunately ACR does not have a Fringe Selector Tool but you can manually manipulate the defringe sliders and get very good results. This feature alone is one of the reasons you should upgrade to Lightroom 4 or Photoshop CS6. Now I will get off my soapbox.
Photoshop is where the burning and dodging magic come in to play. Topaz (for website link see my Tidbits Blog sidebar) Simplify 4′s Watercolor II preset was applied. In an added layer mask, most of the flowers were painted back using a low opacity brush to reduce the effect of the filter on these areas. A Selective Color Adjustment Layer and a Hue/Saturation Adjustment Layer were added with some slight changes to the Reds and Yellows to bring back a bit of the purplish color. Next French Kiss Studio 3 Botanique2 watercolor texture was added and set to 70% at Normal blend mode. In a layer mask, the flowers were lightly painted back but the background retained the greenish colors. A Curves Adjustment Layer was added to add back the contrast lost with the texture.
The next step is the Burning and Dodging tip that comes from John Paul Caponigro, one of the best users of Photoshop to create fine art and a total Photoshop guru, in a course he offers called Drawing with Light – 21st Century Dodging and Burning (Kelby Training also has the tutorial if you are a member – this DVD is excellent covering many topics to improve your images). To add the burn effect to an image, a New Layer is created and set to Overlay blend mode. With a black soft-edged brush, paint over any areas or edges that need a little more separation. I like to use a very low opacity brush around 12% or less, but John Paul likes to use 100% and back it off completely.
The reason I love this method is that it is easy to erase a mistake or add a layer mask to reduce the effect. If you make one stroke too dark, just go to Edit ->Fade and reduce its strength. Also the layer opacity can be reduced if the total result is too much – you may only need a 15-20% layer opacity to get the effect. If you have a lot of changes and want to Dodge some areas, create another New Layer set to Overlay and use the same brush set to white. Be careful not to overdo this – it is easy to do. The white paint seems to really stand out. But it is a very easy way to direct the eye to the important parts of the image. Remember the layer is set to an Overlay blend mode which means that anything greater than 50% gray brightens the image, and anything darker than 50% gray darkens it. Therefore, when black is painted over the darker areas of the image, only the dark areas are being affected – the lighter areas stay the same. When dodging with white, only the lighter areas are being affected. One thing to watch out for is that the Overlay blend mode tends to increase saturation, so make sure this is not happening. May need to use a Hue/Saturation Adjustment Layer to desaturate slightly. The last step for this image involved adding a Curves Adjustment Layer to bring in some overall contrast to the image. Textures can tend to flatten out an image.
This image is of a little tiny hard pod or flower growing on my Peace Lily or Spathiphyllum plant. A macro shot was taken of the flower with filtered light from the south facing window that gives a really soft background feel. Before doing any darkening on this image, it was processed in Lightroom using just the Basic sliders. Next in Photoshop, Topaz (for website link see sidebar at my Tidbits Blog) Simplify 4′s BuzSim III preset was applied. 2 Lil’ Owls Mosaic Set Amour texture was then applied twice. First time it was set to Overlay blend mode at 100% layer opacity. Second time it was set to Multiply at 100% opacity and the flower was lightly painted out in a layer mask. Finally the a New Layer was created and set to Overlay. In this case, the top of the pod was getting lost in the yellow of the leaf behind it and needed a little more definition. With a soft black lower opacity brush, the top of the pod was painted back to reveal the edge more clearly.
I have used this technique for several years now and still find it the best for localized dodging and burning. This technique is a totally non-destructive to the image, and I think the results are far superior to the other methods out there. Definitely on the top of my favorite techniques. Give it a try and see if you like the technique!…..Digital Lady Syd
Since I am doing a post on rainbows, I thought I would first pass on a little trivia about them. Did you know that there are usually seven colors in a rainbow, but most people do not see the indigo layer between the lighter blue and purple arcs? The stronger the sunlight and rain, the more intense the rainbow. This is actually a pretty complicated weather effect. The image of my miniature mums was just plain fun to do and is not exactly a very realistic rainbow representation. I started by adding French Kiss Artiste Promenade texture and painting out the mums in a layer mask. Next a rainbow was created following Deke McClelland‘s Creating a Synthetic Rainbow Effect from his Photoshop Masking and Compositing Fundamentals DVDs. (He is coming out with his new Photoshop book shortly that should be great!). The Gradient Tool was selected to create a rainbow. Below are the basic steps for creating a rainbow effect:
1. Add a New Layer. An optional step is to restrain the actual size of the rainbow – select the Rectangular Marquee Tool and in the Options Bar set t0 Style -> Fixed Size and enter Width the settings I used above were 1000 and Height 337 pixels while Deke used 1840 width by 187 height.
2. If using a selection, keep it active and set up a gradient using settings as shown in the screenshot or download my gradient below. The Rainbow gradient provided by Photoshop has some issues – mainly rainbows do not contain any orange colors, the reds are too squished, and a cyan color is included which is not in a rainbow. Deke suggested these basic gradient settings to make a more realistic rainbow gradient.
The lower color tab locations could be adjusted to get more or less of a specific color in the rainbow. Save your new Gradient as a preset so it can be used again or click to download my SJ Rainbow Gradient and resulting rainbow PNG files that contain these settings.
3.Using the Gradient Tool with the Options Bar set with the new rainbow gradient and Linear, drag out to create a horizontal line rainbow. If using an active selection from Step 1, drag exactly between the top Rectangular Marquee line and bottom while holding the SHIFT key to get a straight across effect. Be sure you drag top to bottom or your rainbow will be backwards. (I know because I did this.) Deselect (CTRL+D) the selection.
4. Now go to Edit -> Transform -> Warp and in the Options Bar select Warp Arc and Bend 90% to get a large semi-circle rainbow. To switch back to the other Free Transform settings, just click the Warp icon in Options Bar. To make size of rainbow smaller to fit in your image, set bend and click on the little chain icon (Maintain Aspect Ratio icon) in the Options Bar between W: and H: and change 100% to 70% (or whatever size works on your image). If scaling manually, be sure to hold the SHIFT button while dragging on the corners or the perspective of the rainbow will change. To get a more stylized rainbow look or one that fits around an object, the corners can actually be pulled to adjust the transform lines to make the rainbow line up any way you want by right clicking in the rainbow and selecting Distort or Skew. Then click on the check mark to set the total transformation.
5. Add a layer mask and with a soft low opacity black brush, adjust the rainbow into your image.
6. Set rainbow layer blend mode to Linear Light and change the Fill value to 15%
7. To reduce the edges of the colors in your rainbow, go to Filters -> Blur -> Gaussian Blur and set a Radius to 8 (or whatever setting you think looks good).
You now have a beautiful rainbow in your image! I actually added a sketch on top of my flower and a Gradient Map Adjustment Layer using the rainbow gradient again and set the layer to 31% opacity to get the rainbow effect on the petals.
Here is another image that uses the same rainbow created for the first image. The PNG rainbow blurred from my rainbow download was brought into the image. The image was first processed in Lightroom starting with David duChemin’s Iceland Split Greens preset (from his newest book The Print and the Process: Taking Compelling Photographs from Vision to Expression) and using an Adjustment Brush to add sharpening and clarity to the houses. In Photoshop Nik Color Efex Pro 4 was opened and the Detail Extractor and Graduated Neutral Density filters were added to enhance the clouds and give them a brighter look on the right side of the image. A Curves Adjustment Layer was added to darken down the area behind the houses to give more of a stormy effect, which is needed to get a realistic looking rainbow. Next the rainbow was placed in the image and Free Transform (CTRL+T) to get the right size and location. The rainbow layer was set to 51% opacity and a layer mask was added – the upper right corner of the rainbow was gently painted out. My SJ Painter Oil Frame was applied and a Color Fill Adjustment Layer was clipped (ALT+click between the layers so change only effect the layer below) to the frame – the color was changed to a matching light color in the image. To get the painted edges, a layer mask was added and using a 12% soft brush, the edges were painted out lightly to get more of a painted canvas look. French Kiss Artiste Breeze texture was added on top. A Hue/Saturation Adjustment Layer was clipped to it and the Saturation set to -100. The texture layer was set to Vivid Light blend mode at 22% opacity. This is an image I probably would not have processed if a texture had not been applied to it and the rainbow really opened up the sky. Now I really like it – it looks like the English countryside that I saw while traveling to Bath.
Just having fun here. Was not sure where this was going and this is what I ended up with. This is actually made up of three groups – Rainbow, Shamrock Pot and Flower Pot. French Kiss Artiste Flower Garden texture was used as a backdrop. It took a lot of manipulation to get the main components set up correctly. The Rainbow was warped to fit into the pots. The flowers were created from an image of a pin I had taken and turned into a brush. All the clip-art is from the wonderful Obsidian Dawn St. Patricks Day brushes. Various layer styles were applied to the different layers and the Cosmi font is called 36 – you might find it on an old CD of fonts.
There are a few other tutorials out there on how to make a rainbow. One in an older book called Photoshop Photo Effects Cookbook has a fairly easy tutorial to follow – I just did not like the gradient effect and final rainbow quite as much. I hope you download my rainbow and give this a try. This was really a fun thing to try….Digital Lady Syd
This simple Amerilius flower image was taken at the grocery store with my Point and Shoot Kodak EasyShare Camera. Not quite sure how I came up with this technique but I loved the result. And it was easy to do.
1. Open image and duplicate the background layer (CTRL+J).
2. Use Quick Selection Brush (or any selection tool you like) to select the Background (or select flower and CTRL+SHIFT+I to invert selection so the background is selected).
3. With selection still active, click on New Layer icon and your selection will appear on the new layer.
4. Create New Layer underneath your object layer.
5. Select the Healing Brush Tool and in the Options Bar click on the Pattern radio button and find a pattern you like. This image used French Kiss Watercolor Expression Set texture called Vivacity – I turned it into a pattern by opening the jpg in a separate document, and going to Edit -> Save as a Pattern. (Note: the size of the texture you are converting will determine how large your repeating pattern will be so try a couple different sizes to see what you like. Also whether you have Sample field set to Current Layer or Current & Below will make a huge difference.) Now when the Source is changed to Pattern, the pattern you just created is at the bottom of the list in the drop down menu on the right of the pattern field. A 235 pixel brush was used which does take a while to paint in – just paint over your selection and the pattern is laid down.
After that you can add plug-ins – this one used Topaz (see sidebar for website link at my Tidbits Blog) Simplify 4′s BuzSim Split Toned I preset with the overall transparency set to .90. I also created an Overlay from 2 Lil’ Owls Bonus Texture 4 (created a PNG file of just the frame by following the steps in my blog How To Make Frames or Borders – scroll down to the section called “To save the frame you created as an overlay to use again.”) and changed to pink using a Color Fill Adjustment Layer clipped (ALT+click between the layers). A Curves Adjustment Layer brought out more contrast and a Selective Color Adjustment Layer brought more color in the background.
…..This image used My Smudge Texture four times. The hardest part with this image was selecting the feathers from my original image to get a nice clean layer mask – Refine Edge was used to really get the clean edges. Next I put a New Layer underneath and painted in my Digital Lady Syd’s Smudge Texture as a pattern for the background. The first pattern I used followed the technique in Step 5 above and was a very large texture pattern as it was a larger size in Photoshop – the Healing Brush default settings for the brush were used and it created a really clean soft color texture for the background. For all the layers in this image, the Sample was set to Current Layer in the Options Bar. (If you set Current & Below, you will blend the layers together.) Next I created another New Layer above it and used my texture at a smaller size which resulted in a repeat pattern look. Using a 100 px brush set to Multiply Mode, several random lines were created down the layer by clicking with the Healing Brush at the top of the layer and Shift clicking at the bottom to get a straight line. Next a Free Transform was done (CTRL+T) to put the lines on a diagonal going somewhat with the feathers. By double clicking on the thumbnail, the Layers Style can be opened. In Pattern Overlay I selected my smaller sized texture again and set the scale to 37 and the Divide Blend Mode at 56% – this pretty much covered the straight line patterns but still kept the straight lines. A Stroke effect was added with the Size set to 35 and the Fill Type set to Pattern using my smaller sized pattern. The Scale was set to 31%. That was it for the background. The layer mask was applied to feathers by right clicking on the mask and selecting Apply Layer Mask. This layer was taken into Topaz (see website link in sidebar at my Tidbits Blog) Adjust 5 and the Spicify preset applied to bring out the feathering more clearly. A black layer mask was applied and then just the areas where the effect should be was painted back in. Topaz Detail 3 was added next with the Overlay Light Detail II preset was applied on a duplicate layer and set to 67% opacity. Jess Warriors 1 pottery brush was painted on its own layer at 30% opacity. Finished up with a Curves Adjustment Layer to lighten up some of the white feathers. OnOne’s Grunge 04 Frame was added in a yellow and French Kiss’s Glorious Grunge Edging PNG file (a free download) was added using a dark burnt orange Color Adjustment Layer for the border effect.
Healing Brush vs Pattern Stamp – what are the differences?
After playing around with the Healing Brush technique, I will say it can give similar results as the Stamp Pattern Brush, but actually has fewer choices available. The Healing brush blends the pattern in with the underlying color and texture – the Pattern Stamp lays down the pattern exactly as it appears in the Options Bar. To get the softest edges on the Healing Brush’s pattern, use a soft brush by clicking on the drop-down menu by pressing the arrow by the Brush Size and setting the Hardness to 0% (default setting is 3%). The Pattern Stamp Brush lets you choose many of the Photoshop brushes that come with the program so you can get some interesting effects doing that where you have to use the settings in the Brush drop-down for the Healing Brush, and there is a really neat Impressionistic effect in the Options Bar that gives you some really neat looks for your background. Also, the Healing Brush has no brush opacity setting and only 8 blend mode options, including one, the Replace blend mode, that I have never seen before. To quote Julianne Kost’s blog (she knows everything there is to know about Photoshop and Lightroom and gives great Photoshop World classes), “Using the Healing brush with the blending mode set to Replace makes it behave like the Clone Stamp tool (in that it doesn’t automatically try to blend color or tonality of the source and destination), with one advantage: if you’re trying to clone high frequency image information, the edges of the cloned area will not appear soft as they do with the Clone Stamp tool.” The Stamp Pattern Tool has an opacity brush slider and lets you use all the regular blend modes for your brush and also has a Behind mode. Try out different blend modes on your brushes – it can give really interesting results.
…..This is a female Palamedes Swallowtail Butterfly (the males are smaller and blacker in color) that was so much fun to photograph – she would wait for me to take the picture before moving just like a model! Totally adorable! The trick to getting the shots since her wings are flapping like crazy was to set your ISO to 1600 and shot at F11 or higher. Got some great pictures of her. After selecting her and placing her on the top layer, Kim Klassen‘s Cherish Set-Cherishscript texture (sign up for her newsletter to get lots of beautiful textures) was placed right underneath the butterfly layer. A New Layer was placed above the texture and the Healing Brush was selected. The brush was set to Multiply Mode and one of my patterns that had a rough painted texture to it was selected in the Options Bar. Current and Below was set so the colors from Kim’s texture were blended with my pattern. When finished filling in the layer, the Source was changed to Sampled (and brush set back to Normal mode) and the hard edges between the two tiling were blended by ALT+clicking in an area to sample from. Using the Pattern Stamp Tool, French Kiss’s Spatter Brush4-01 was set to 1008 pixels and one stroke was applied. The layer was set to 77% opacity. French Kiss’s French Script No1 1876d overlay was added above that layer and set to 64% opacity with a brown Color Fill Adjustment Layer clipped to it. (The color in the splatter brush was picked up from the pattern shown in the Pattern Stamp Tool, which was the same one I was using.) The butterfly layer is still on top through all this. The last step is to add a Curves Adjustment Layer.
It was a lot of fun to try this out and you can use any pattern you want to get a different look. I am enjoying experimenting with some tools I do not use much to get a different look to my textures. Give it a try and see what you think…..Digital Lady Syd
Digital Lady Syd’s Related Blogs:
How to Create Unique Textured Backgrounds
I do not use actions very often, partly because the good creative ones are very expensive. But Jerry Jones at Shadowhouse Creations came up with three sets of actions that I am finding really nice and plan on using. The image above used the Fond Memories Action in Action Set 3. First the image was cropped and basic sliders were adjusted in Lightroom. (See below for all the original images as brought in from Lightroom 4.1.) Then once in Photoshop, Topaz (see website link in sidebar at my Tidbits Blog) Detail’s Overall Medium Detail II preset was applied and some basic flower clean up was done. When using Jerry’s actions, I like to first create a duplicate copy of the image (Image -> Duplicate) just before running the action. The duplicate image is then flattened (click pop-out window in upper right corner of Layers Panel and select Flatten). It also goes a lot faster if you set the image is set to 8-bit mode first (go to Image -> Edit -> 8-bit) – this is OK if you are not planning to create a huge final print. Next my free SJ Impasto Smeary Flat texture (created while messing around in Corel Painter with an Impasto brush – who knew I would use it) was applied and set it to Hard Light at 20% opacity. Next French Kiss Artiste Collections‘s Savoire Faire Overlay was added and using a layer mask, the French lettering was removed from the flower. The last step applied Shadowhouse Creations Grunge Gift Stock 10 texture set to Color Burn blend mode at 81% opacity.
Loved this shot of a very patriotic corvette from the 39th Annual Daytona Turkey Run (I love corvettes!). Anyway, the image did not need much work as the car was so pretty as is, but I did manage to run Shadowhouse Creations Classy HDR Effect from his Action Set 2. I actually used the History Brush to paint back the original image windshield as the action caught too much glare in the glass. If you have not used the History Brush, it is a pretty nifty tool for these kind of issues. Just select the History Brush in the toolbox, set the brush opacity to 100% in this case, go up to the original image (or history state that includes the part you want painted back in) in the History Panel and click to the left of the histsory state’s thumbnail to set the History Brush icon. Now add a New Layer and paint back the parts you want restored. In this case a Hue/Saturation Adjustment Layer was added and clipped it to the New Layer (ALT+click between the layers to link it} so just the changes occur to the New Layer. Then the Saturation was set to -54 to match the image better.
This image of Purple Fountain Grass uses the beautiful Classy Sepia Action from Action Set 1. I really liked the tone this action creates. This image first required a lot of clean up due to the various background distractions, and Topaz Detail 3 was applied to just the focal parts of the grass. I saved this image and then started with a flattened image to apply the action. Next Shadowhouse Creations Scratchbox 3 texture was applied at Normal blend mode and 43% opacity – a layer mask was added to paint out the center but left the edges softened by the texture. A PNG grunge border was added which I created (see my How to Make Frames or Borders blog). A beige Color Fill Adjustment Layer was clipped to the frame.
I really loved this action – the Dreamy Paint Action from Action Set 3. First I duplicated the flower in the first image and warped it so it sits behind the other flower. Then I ran the action, did some background clean up, and added a texture made with a spatter brush and turned into a PNG file so the background color still comes through behind the texture (set to 35% opacity). A Curves Adjustment layer was clipped to the layer to bring out some of the tones a little more. The last step involved adding an Edge Frame and changing the color with a clipped Color Fill Adjustment Layer. (See my Digital Lady Syd’s Rule No. 9: Get the Shot! Tidbits blog for more info on this.) Last step involved just sharpening the flower centers a little using Topaz Detail 3 Overall Medium II preset on flower centers only.
Pretty basic image here with little change in Lightroom before bringing into Photoshop. This time I ran the Hot Cocoa Action from Action Set 3. Since the middle ground got a little dark, I used the History Brush again on the original and painted back the grassy area behind the church and set the layer to 35% opacity. Next on a stamped or composite layer (CTRL+ALT+SHIFT+E) Topaz Detail 3 was applied using Overall Medium Detail II preset – a black layer mask was added and just the brick texture and the church spires were sharpened. My Thin Double Edged Frame layer style was applied using brown and beige for colors. I liked the warm color of the church in this image – really brightened up a rather bluish original.
Above are the original images as brought in from Lightroom 4.1 (the view in portrait mode is shortened) so you can compare with my final results. I have been a big fan of the ShadowHouse Creations website – Jerry graciously gives away many wonderful textures which I have used repeatedly. He is asking for donations of $5 for Action Set 1 and $7 each for Action Sets 2 and 3. If you compare this to what most people are charging, this is incredibly reasonable for the scope of the actions you are getting. For more Before and After images, check out the individual set links. A few of the actions that use filters tend to run a little slow, probably due the high CS6 RAM use. That is why I have been changing to 8-bit mode before running them. On many of the actions you can go into the History Palette and change a setting or stop at a certain step if you are not happy with a result. So far I have not needed to do this. Well I hope you will check out Jerry’s great website and think about donating to use his actions. Thanks Jerry for the wonderful actions!…..Digital Lady Syd
It is that time where I try to put some perspective on my images for the past year and choose the ones that appeal to me most. I had a nice year and got to see some pretty interesting places. I try to see which images I would place in my home. Here is what my “inner critic” thinks are some of my best.
10. Below is an image shot while in the Lightner Museum looking down at my favorite lunch spot in St. Augustine, Florida, the Cafe Alcazar which is located in the old hotel pool area (see Bathing in Casino on Shorpys website for how the pool looked in 1889). For more info, see my Tidbits Blog Cafe Alcazar and Vintage Topaz Adjust.
9. I love this sort of illustrative and humorous effect. This image is of a whale taken during the Shamu show at the SeaWorld Orlando Theme Park. For details on processing, see my Storytelling with Your Images blog.
8. The Big Island in Hawaii was one of my most favorite places I have ever visited. This photo art image depicts how I think of Hawaii. I discuss how I created the effect in my Using Color Efex Pro and Texture for a Warm Hawaiian Landscape Effect blog.
7. This lovely mallard duck pair’s image was taken at the SeaWorld Orlando Theme Park in Florida. This image used a texture by 2 Lil Owls and the new Topaz (for website link see sidebar at my Tidbits Blog) Detail 3 to bring out details and color, especially in the feathers and eyes.
6. This old corvette was for sale at the 39th Annual Turkey Run at the Daytona International Speedway infield. This is my favorite type of car - so I had a great time photographing all the corvettes. (More will be showing up in my future blogs as I have a lot more corvette images.) To see how I processed this image, see my Little Red Corvette Tidbits Blog.
5. Miniature Mums were used in a lot of my images this year. I like to photograph the flowers I grow. I have been trying to improve on my macro shooting this year. To see how this flower was processed, see my Tidbit Blog Just Bloomin” Beautiful!
4. The wild surf is at Laupahoehoe Harbor on the Big Island. In my Dr. Brown’s Painting Assistant Panel for CS6 and CS5! blog I used this same image with an artistic feel to it. Nik Color Efex Pro’s Detail Extractor filter helped give this image the sharpness.
3. I am always surprised how nice the flower pictures are that I get at the local grocery stores with my inexpensive Kodak point-and-shoot camera. These beautiful pink roses were shot at my neighborhood store. Post processing included adding 4 textures – two I bought from French Kiss’s website and two from a wonderful Flickr site by Lenabem-Anna which contains many beautiful vintage and painterly textures. I used her textures 130 and 72.
2. The purple lily pad image is one of my artistic experiments that I really like. They were taken at the Hilton Waikoloa Village by the Japanese Restaurant. To see how this effect was created with a slightly different result, see my Tidbits Blog Purple Lily Pads!
1. It is hard to top Hawaii for beautiful everything. I settled on this image from along the road to Waipio Valley as my favorite of the year since it totally reminds me of my trip to the Big Island – the bright sunlight, the beautiful surf and the gorgeous clouds hanging out. To see how I processed this image, see my Nik’s Viveza 2 Plug-In – A Hidden Gem! blog.
It’s been a great year and I have learned so many new things about post-processing my images in Photoshop. Hope you have enjoyed some of my blogs too. I hope next year is as fun and productive. Happy New Year Everyone!…..Digital Lady Syd
This is a follow-up from last week’s How to Create Unique Watercolor Background Texture blog and more Photo Art examples. Below are listed several ways to create interesting backgrounds using brushes and other Photoshop tools. The above is an example of what can be done using very traditional textures to make your image look a little different. Some clean up and a Curves Adjustment Layer were added to emphasize the sketch lines of the flowers more. Next Lost and Taken’s Remixed Chalk Pastel 03 texture was added and set to Pin Light at 100% opacity. To get the grungy look, a New Layer was created using the Amazing Texture Brush 2 by Nakatoni (apparently these are no long available but any grunge brush you like will work to add some splotchy purple color) – the layer was set to 52% opacity. A little color clean up was done on another New Layer. Next one of my favorite canned textures by Gavin Hoey’s grunge border 2 was added and set to Overlay blend mode. To get the flowers to appear, a white layer mask was added and the flowers were painted back in using black in the mask. This texture was set to Overlay blend mode. Next a composite layer (CTRL+ALT+SHIFT+E) was created and a black 3 pixel stroke layer style was added as a small border line. Next my Cat Painting canvas texture was added using Soft Light at 100% opacity. A Curves Adjustment Layer, Levels Adjustment Layer, and Gradient Map Adjustment Layer (using a bright yellow to green gradient and layer set to Saturation blend mode at 46% opacity). Two more layers were created using different grunge brushes set to 20% opacity in purples and blues were the last steps. The reason I went over all this is to show what a few layers on top of rather traditional textures can give a very different look and be very targeted to get an interesting final result. Below is the Layer Panel workflow as basically listed above.
This background was created in an interesting way. A New Document was created using the Photoshop Paint Brush Maple Leaves set to 369 pixels with pink and yellow set as foreground and background colors – the whole layer was covered with leaves. Next the Smudge Tool was selected and I dabbed and smoothed the colors together to give this nice blended look using Fay Sirkis’s Watercolor Liquid Mask I Photoshop Brush with the Smudge Brush Tool. If you do not have access to her wonderful brushes, try Alex Dukai Artist Set 01 using the Impressionist brushes which give a very similar result. (Note: the Smudge Brush Tool takes a lot of Ram to run so use a small sized brush like 150 pixels max to do do this.) Once this is created, save the background down as a JPG so it can be used over as an image texture. I used this background and added my sketched layer from the first image. A New Layer using Obsidian Dawn’s Random Swirls 2 Glitter Brush in light pink was added to add texture to the flowers. Nagel rough pastel brushes 3 and 4 were used in the different colors to fill in blanks spots and add some color to the petals – these are really nice smoothing brushes. My Double Edge Frame layer style was added as a last step. See my blog Digital Lady Syd’s Free Layer Style Frames. Here is just a different way you can create a unique texture for you images. You can download my Smudge Texture – see below how to change the effect and colors in this same texture.
This original image was first taken into Nik Color Efex Pro 4 and three filters stacked: Midnight using Neutral color set, Reflector Efex using Method Gold. and Bi-Color Filters using Color Set Violet/Pink 3. The background came out as black so a layer was placed above and olive green grunge was added on the layer using another one of Fay Sirkis’ textures pastel brush (see last week’s blog for more on Fay). Again a good grunge brush would be fine. A second layer was added and a light pink grunge was painted – the layer was set to 19% opacity. A Curves Adjustment Layer was added to darken the whole image down a bit. Next, the Smudge Texture created in the image above was placed in the image on top and set to Color blend mode at 80% opacity. A Hue/Saturation Adjustment Layer was clipped to the texture (ALT+Click between the layers) to adjust the hue (+14) and saturation (-71) of the texture itself – the adjustment layer was set to 49% opacity. Finally a composite layer was put on top and my Double Edge Frame layer style was added to finish up the image. I believe all these steps created once again a very unique background for these flowers.
This image used a pattern applied with the Pattern Stamp Tool. This tool can create some really interesting backgrounds. The original image was loaded. Next a New Layer was added on top and the Pattern Stamp Tool (sits with the Clone Stamp Tool) was selected. Now to make this interesting you have to load some interesting patterns. This is one from Princess of Shadow Victorian Dreams Texture 6 but any pattern that has colors you like can be used. I wanted some blues and reds so that is why this particular pattern was chosen. Note you can use any of your textures and turn them into patterns by opening texture, going to Edit -> Define Pattern and it will be in your group of selected patterns. To make this work you need to go to the Options Bar and in the little box where the pattern is showing, click on the little down arrow and load your pattern. A layer mask was added to remove the color from the flowers. The Pattern Stamp layer was set to Color Burn blend mode at 77% opacity. This layer was duplicated which added in the blue and red tones in the texture once the layer was set to Hard Light at 64% opacity. The flowers were painted over using Mixer Brush blenders. Once again I have to thank Fay Sirkis for her great Signature Schlepp n Smear Blender brush and one by Dave Cross – his close up mixer brush. A Curves Adjustment Layer was added where the RGB, Red and Blue curves were adjusted. Finally I a used my Double Edge Frame layer style, this time adding a Layer Stroke effect and setting the size to 18 and Fill Type to Pattern. I selected the same pattern and set the scale to make it look right.
I thought I would finish up with a couple real quick ways to add an interesting background. Kelby TV’s Ask Dave’s blog has a short video on How Did You Get That Cool Background? that was used to create the background above. This is a really easy technique. Basically Dave Cross (one of the NAPP Photoshop Guys and Hall of Famer at Photoshop World) used the Single Row or Column Marquee tool and apply a couple filters – I did this in a separate PSD file so I could use the texture over again. This time the flowers were cropped and set to Dissolve blend mode. An image that had yellows and reds was selected to create the background and a Hue/Saturation adjustment layer added for the purple/blue tones. A snow texture that Florabella Collections had given away at Christmas was placed under the flowers but above the adjustment layer – any snow texture is fine (it would be easy to create by painting with a spatter brush on a black background on a layer) and set the layer to Color Dodge at 35% opacity. A New Layer was created using Frostbo’s Snow Drops brush with purple tones – this is my favorite snow brush. My Thin Double Edge Frame was used as a last step sampling color from image.
Hope you are not getting tired of my flowers but they were easy to use as an example. This last image first used a Randomized Gradient – it was originally in bright reds and oranges.
See my Tidbits Blog I Didn’t Know That! Randomizing Gradients which uses four steps to create. This gradient had Noise set to just 50%. The randomize button was pushed several times until I got a gradient I liked. In this case I used a Radial Gradient which was pulled out from one corner of the image. A Curves and a Hue/Saturation adjustment layer were added to change the colors to browns and pinks. The flowers were placed above the gradient layer. (See left image.) A New Layer was added under the flowers but above the adjustment layers and a Mixer Brush was used to smear the color behind the flowers to get this effect. (I personally like John Derry’s Mixer Brushes – this used his Flat Fan High Bristle Count brush.) I was really surprised how this turned out. Try out different mixer brush settings to see which one does not pick up the flower colors but just those underneath. Now just a little clean up and frame. The Mixer Brushes can create some really interesting backgrounds.
I hope you have learned a few new ways to create some interesting background textures for your images, especially flowers. In the meantime, try some of these techniques and see if you get some good results!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Russell Brown’s Paper Texture Panel Updated!
Create a Winter Scene with Photoshop Brushes and Textures
Adding a Texture for Flair!
Adobe Photoshop CS5′s Mixer Brushes
Cold Dolphin Fountain in Florida
Everyone it seems is texture crazy right now! I have to admit that I love to use textures in my photo art but some of what I am seeing does not seem that terribly creative to me. Once you buy a texture action, and don’t get me wrong – there are some beautiful textures and actions to make your photos look great – the results may start to look a little canned. That is what I was feeling when I created the above image from a shot of beautiful white flowers from Hawaii. I have to admit I tried a few boilerplate textures from some of my favorite texture people, but it just did not do anything for me. Then I decided to take things in my own hands and try making some interesting textures that would work for me.
As I have said before, I am not a trained artist, but I do like to play around with brushes. Here is the original image before adding my textures. The first thing I did was to create a sketch in Topaz Simplify (for website link, see sidebar of my Tidbits Blog) using colored edges. (I still have not found anything that works better to get a really good sketch effect.) In fact I got the idea from an image I posted in my My Version of Photoshop Tennis! blog where I used the Simplify plug-in to get a nice line drawing of the outdoor cafe image. The settings are very similar but instead of using mono color edges, color edges were used (see settings for Image 6 in blog). Back in Photoshop, Color Range was used to delete all the green background out of the image so only the sketched flowers remained. I duplicated this layer and put it to Multiply blend mode to make the lines a little darker and even added a Curves Adjustment Layer to bring out more detail in the petals. A New Layer was placed between the original green image layer and the sketch and filled with a light yellow. Above the yellow layer, several New Layers were added where I just painted with a chalk or charcoal brushes using 30% opacity in light pinks and blue colors around the petals to start getting a painted background. This does not have to be painted perfectly as they are blended into the image later. Different new layers were created for the different colors – if one color is not looking that great, you can delete it from the image without losing your other colors. (In fact I had created a rather bright orange layer using a charcoal brush that just did not work so it was deleted.) I used some of my very favorite brushes by Fay Sirtis, a Corel Master Painter, but she also does Photoshop brushes. The best way to get hold of them is to join NAPP (National Association of Photoshop Professionals) where her videos and brush downloads are available. She has created several of the old masters’ brushes to use in Photoshop, but also has some of her own pastel, chalk and charcoal brushes. Her dry, texture pastel, and chalk add color brushes were applied to add a nice texture to just the flower petals. Check out your Natural, Dry Media and Wet Media Brush sets that came with Photoshop for some other good brush choices. I try to rename the layer with the name of the brush used if it a unique one. Now a composite (CTRL+ALT+SHIFT+E) stamped layer is created to finish up. Below is where we are at.
The image still needed more interest so a I created one to place over the sketched flowers. This was done by starting a New Document and creating several layers of strokes in different soft colors and opacities. The brushes used in this file are BittBox Free Hi-Res Watercolor Photoshop Brushes. A Composite was created at the top of this document like above. I then saved the Pastel Watercolor texture image as both a .PSD and .JPG file. Click on image to see steps more clearly in FlickR (click again in FlickR to bring up an even larger view). To download my texture from Deviant Art, click here. See “Create a Colorful Paint Background in Photoshop” by EntheosWeb.com for a good article on how to do this.
This watercolor JPG texture image was then placed above the Composite layer of the flower file. I did not like the way it lined up so a Free Transform (CTRL+T) was done and it was flipped vertically and horizontally to get the look I liked. A layer mask was added to clear some of the paint from the petals where it looked overdone. The layer was set to Lighten blend mode at 57%. Note my layer is called Adobe Paper Texture Pastel Watercolor because it was added using Dr. Brown’s Paper Texture Panel (see link below) just like any other texture – it will rename your layer for you which is very helpful when stacking texture effects. What I did next was to add several layers of cloning and painting to clean up or paint some additional color texture and paint on the individual petals to give emphasis in certain areas and less in others. As you can see, there is a little blue painted in the flowers on one layer – this is painted at a very low brush intensity, between 15 and 30%, and the layer opacities were adjusted afterwards. A really light vignette was created and set to 30% opacity and Overlay blend mode to direct the eye just a little. Finally my Double Edge Layer Style (can be downloaded here) was added sampling the colors from the image for the frame on yet another composite top layer.
This seems like a long process, but you now have another texture and it is unique because you made it. I have used this Pastel Watercolor texture in other images. Add a Hue/Saturation Adjustment Layer and clip it to the texture (ALT+Click on line between the layers) to change the colors in the texture. By adding some textured brush strokes with the Pastel Watercolor texture, a very unique and artistic look can be achieved. Next time I will show a few other ways to get some different background effects. Until then, have fun with your brushes!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
How to Create Unique Textured Backgrounds
How to Turn a Brush into a Watercolor Brush
Digital Lady Syd’s Rule No. 7: Get Textures From Objects Inside Your Home!
Russell Brown’s Paper Texture Panel Updated!
Orchids with Russell Brown’s Paper Textures Panel
Here is another Photo Art application from the wonderful Russell Brown. Very rarely would I be posting about something that is different for CS6 from CS5, but on occasion this is happening – especially when it comes to Dr. Brown’s panels. I had previously downloaded Dr. Brown’s Painting Assistant Panel for CS5 and got some really nice results. I actually blogged about it in my Tidbits Blog Think Pink! Rally for the Cure Pink Rose a while ago. He recently came up with a new panel for CS6 that gives different results as it creates specifically an impressionistic oil painting look. I like both panel version’s results. The Fairfax County Courthouse cannon above was my first attempt at using the CS6 Painting Panel and to be honest, it is a little tricky to master. You definitely need to review the videos that he distributes with the download before starting. And he does make a major point that once you start, you cannot go back to a previous step. When you open the panel in either program, he gives you the brushes you need to complete your images. Here is the link to the Dr. Brown’s Scripts Page – there are two versions of the Painting Panel, you must scroll down a ways for the CS5 version – and as always with Dr. Brown, these are free downloads. To finish the image above a clean up layer was created, a Curves Adjustment Layer applied to add some contrast, and my Double Edge Frame Layer Style was applied. Also note that a Wacom tablet really helps with this panel and he recommends using the barrel rotation pen – I use a large Wacom Intuos 3 tablet (I cannot justify upgrading as it works great – if you cannot afford a new tablet, you might want to check out E-bay for one of these older versions), and I bought the pen a couple years ago from Amazon (I am not sure you must have this to get good results – they are quite expensive and do not come with the tablet when purchased).
Below I used the same Lightroom adjusted flower image and opened it up in both Photoshop programs. This first example is from CS6.The above is the final version after adding in some clean up brush strokes on a separate layer using a regular pastel brush and sampling color from nearby areas in image (ALT+click in image), adding Flypaper Textures Apple Blush Taster Texture (comes with Dr. Brown’s Paper Panel Texture download) using Pin Light Blend Mode at 66% opacity, and a Curves Adjustment Layer to adjust contrast. Below is what the image looked like after Step 4 of the Painting Assistant Panel.
There are seven steps to the Painting Assistant Panel. The first two go really fast – they involve opening your image, resizing it, and smoothing it using the new Oil Painting Filter in CS6. (You can see the filter texture in the border areas). The next four steps take a considerable amount of time. Step 3 is Create Rough Underpainting which goes fairly fast. Step 4 is the Intermediate Painting which takes the longest time to do as this is where the impressionist strokes are painted over the image. Step 5 is Finish Intermediate Painting where a few details are added back in. Step 6 is Detail Recovery using a provided History Brush which may take a while to do depending on how much smaller detail you want to bring back into your image. Step 7 is Add Finishing Touch which adds the High Pass Filter to sharpen and is quick. Other textures and filters can now be added to the image to finish it up. This whole process can be quite time consuming. Impressionism requires a lot of small strokes to get the look. (See my Tidbits Blog Digital Lady Syd’s Rule No. 6 – Try Something New! with links to Fay Sirkis who explains how to actually paint a stroke to create an impressionistic effect – check out the article link in the blog.) The wood boat image below is a more complicated image and took way too long to finish in one sitting. Even the cannon image took a very long time to finish so I would stick to images with simpler lines like floral or still life for use with this panel.
Now for the Photoshop CS5 Painting Assistant. The steps only number 6 but the panel works the same way. The first step is where you open the image. Second step Adds a Surface Blur filter to your image, Step 3 creates an Underpainting Layer where you use a supplied Mixer Brush, Step 4 is an Intermediate Layer, Step 5 Detail Recovery, and Finishing Touch that adds the High Pass Filter for sharpening. Only a Curves Adjustment Layer was added for some contrast and OnOne PhotoFrame (see sidebar for website at my Tidbits Blog) acid burn 07 was used to finish up the photo. Personally, I think that the Painting Assistant is CS5 is easier to use than Cs6′s, but you are not trying to create a particular style of painting as in the CS6 version. This image of Laupahoehoe Harbor on the Big Island in Hawaii was created very quickly in Photoshop CS5 – much faster than using the impressionist effect in CS6. The way I got the texture to look more painterly was to add a light gray texture created from an actual oil painting I own. I use it a lot and if you would like to download it, check out my Cat Painting Canvas Texture download link at Deviant Art. It was set to Overlay blend mode at 57% opacity. The Painting Assistant layer was slightly cleaned up on a separate layer by sampling in the document and using a low opacity Photoshop chalk brush to fill in. If you do not want to spend so much time on a document, the CS5 Painting Assistant seems to be the answer.
A couple quick tips: Dr. Brown says paint your image as a paint-by-number of old times when in the Intermediate Painting step. I discovered that at this point you can erase any areas you did not paint over in the outside border before going on to Step 5. Once in the Finish Intermediate Step 5, be sure not to overdo the detail – only place it where you want the viewer to focus in the image. It is easy to overdo this step. I used it to smooth out some of the indistinct lines in the image below. Step 6 is actually the History Brush and it is set to 4% opacity. I changed this to 22% as I could not see any changes occurring in my image. Step 7 adds a High Pass Filter set to Radius of 8 – you can always paint out areas that are too sharp in a layer mask if it seems like too much. For the wooden boats at the Hilton Waikoloa Village on the Big Island in Hawaii, after the Painting Assistant was used, a clean up layer was created to fill in a few areas and a Levels Adjustment Layer was added to increase contrast. That is all!
As you can see, this is another great way to photo paint an image. Dr. Brown always has fun and interesting ways of doing things. He is in the process of creating a watercolor module for the Painting Assistant and I can hardly wait to try it. Give this panel a try and see if you like the results – some people are creating some incredible art using it. I think I need to work with it some more but it is fun to do!……Digital Lady Syd
Keeping with my “photo art” theme, one my favorite things to do in Photoshop is to create composites so I decided to share some of my workflow and some of my experiences when creating one. I have created several composites that now hang in my home as canvas art. When I do a composite, it takes several iterations and a few days to get the exact feel I want in the image. This one above, which is named “Sisters,” has taken me a good part of three days and eight iterations before it was finalized. I try to create what I consider “relevant composites” or ones that convey a theme – not just slapping a bunch of unrelated images together. I have found that most of my Photoshop skills are put to test when creating a good composite. This image contains five objects – the floral background and bee photos are my shots, the beautiful young ladies are from an artist at Deviant Art that was willing to share his lovely image, and two clip art butterflies.
So lets talk about how to get this final result.
1. FIND A BACKGROUND. First you need to select a good background image to place your other objects into. I knew I really liked this photo of Moss Rose flowers that grow in my front yard. I also know that it was a very blurry image (I do have some nice ones of them) but the color was beautiful in this image. It got me thinking this would give a nice background for a dreamy fairy tale look. Below is the image used for the background – it had been processed as a 3 image HDR and some texture added – only the basic HDR layer was used for the image. You can see how flurry everything but the front flowers were but the colors are very pretty.
2. ADD IN OBJECTS. The next step was to find something that would fit the “dreamy theme” I was going after. If you go up on Deviant Art (here is a link to my page), you can search for beautiful images of people dressed up in Victorian and all kinds of costumes and most are readily shared for your use. The artists at DeviantART are usually very willing to share their expertise and it is a wonderful community of people. That is how I got this wonderful image of the two young ladies in this image - it is called Split Personalities by J Hicks at Deviant Art. Oddly enough, he used two images from another person, Eirian Stock, at Deviant Art.
From Adobe Bridge, place your selected image into your background layer image (or you can start with a totally New Document and add the background image in first) so it becomes the top layer. Add a layer mask to the image and paint out what parts you do not like showing. Free Transform the layer and change the size or distort it to fit – anything you want to do. Sometimes warping does the trick. In this case, the ladies were placed among the flowers and the whole background around the girls was painted out except for a small part of the bench they were on.
I decided that I would like to add some butterflies and a bee to the image – it seems like these objects have a fairy tale feel to them. Since I had the bee image, but it was only a small part of a bigger image, it was first opened into Photoshop and the bee was loosely selected and placed on its own layer (CTRL+J) – then this layer was copied (CTRL+A to select and CTRL+C to copy) and placed (CTRL+V) into the composite document. Using the same procedure as in Step 3, a layer mask was added to the bee layer and painting with black only the bee was left in white on the mask. If you do not have object images, try some of the free stock photos places – I like stock.xchng.
Be aware of the composition you are creating – the image should be balanced and have a focus point. First I tried one of my butterfly images but the colors in the butterfly were too dark and it just did not blend in correctly into the total image. The two butterfly objects are from an old clip art book I purchased called Decorative Butterfly Illustrations by Dover Publications – they look rather authentic. They were on a white background so the white was removed using the Magic Wand Tool and CTRL+BACKSPACE to remove the white. Then Free Transform (CTRL+T) using Warp was applied to adjust them in the image.
3. CLEAN UP. Once you get all your objects assembled, then the clean up begins. In my image I did not add the bee until I realized that one of the girls was looking at something where there was nothing to look at in the image. First the upper left yellow flower was added – this was cloned on a separate layer from the yellow flower on the bottom right and warped to look unique. Then the bee was added. I tried to adjust the objects so the eye stays toward the center of the image – with no bee, the eye tends to follow the girls gaze off to the left. The butterflies on the right also keep the eye from roaming too far right.
Another big issue was that the butterflies and bee were too sharp edged to match the soft edged flowers they were near. Therefore, a Gaussian Blur filter was applied to each at a fairly low amount, roughly a 4 radius, to give a soft feel and out-of-focus look to them. Some petal clean up was done where the petals looked overexposed. (See my Getting Rid of Those Blown Out Areas in Your Image blog.) Using a similar technique, little areas of the skin were smoothed out and hair and dress color was adjusted by adding New Layers and sampling color near the areas to be cleaned up – then with the brush tool set to a low opacity of 20% or less, painting back in to smooth rough areas of image. Below is what my image looked like at iteration 4. I decided I did not like the lighter colors – a little flat for the effect I wanted. Also it seemed the girls and their dresses did not stand out and I wanted them to be the focal point of the image. Using a Curves Adjustment Layer, they were lightened just slightly to make them stand out more from the colorful floral background. You can always clean up an effect anytime during the workflow if it just does not look right.
4. ADDING TEXTURES AND FILTERS. Now I could not resist the temptation to try some textures on this image. Several were tried but I decided to use one that created by using the Smudge Tool and Watercolor brushes in Photoshop – see texture below. I will be blogging on how to create your own background textures in the next couple of weeks and this is one of the examples. Use Dr. Brown’s Paper Texture Panel to try out different textures and blend modes. You can always paint out areas on the layer mask and create some very localized texture effects. For the final image, the texture was set to Multiply blend mode at 55% opacity, and it was painted out of the skin areas using a white layer mask and painting with black. The yellow and oranges really brightened up the image and gave me some colors I liked.
Thinking I was done I decided to try just one more thing – Nik’s Color Efex Pro 4 plug-in. (Use Smart Objects for this so you can go back and adjust the sliders if needed – Filter -> Convert for Smart Objects.) Maybe it would do something really interesting. (If this had not worked, I would probably have gone into OnOne PhotoEffects 3 or Topaz photoFXlab’s InstaTone – for website links, see my Tidbits Blog). The new Film Efex: Nostalgic and used Film Type 4 filter was selected – it just softened up everything and created almost hyper-pastel colors but I really liked the effect. The Overall Strength of this filter was set to 86% to tone it down just a little. Also Brilliance and Warmth was applied adding just warmth at 29%.
5. FINAL STEPS. It now feels like the image is almost done so I used my favorite clean up plug-in, Nik Viveza 2, to lighten up the whole image. Also the middle area of the image was softened and more detail was added to the pillow flower. You can do all kinds of subtle changes with this plug-in that can really enhance the composition and direct the eye.
Last steps involved brightening up the dresses more using a Curves Adjustment Layer whose layer mask was filled with black and just the dresses painted back in with low opacity brushes.
A final texture is added for framing, one of my favorites – ShadowHouse Creations Old Photo2 which gives an very old vintage feel to the image. It was set to Darker Color blend mode at 55% opacity and a layer mask was used to paint out the center and just leave the texture details around the edges. Below is how my Layers Palette looked after completing this image.
This is a decent example of what goes into a good composite. In this image alone, there were 5 Curves Adjustment Layers, 5 clean up layers, and 5 paint layers where I sampled colors and painted over areas. My original file is 955 megs and 11 X 17 inches so this is a pretty large file by my standards. A composite lends itself nicely to large canvas images. There are many other composite techniques not used here in this example but on others such as using the Gradient Tool and Color Fill Adjustments layers for unique effects and blending. This is definitely where you get a chance to experiment. Give a composite a try – it is very rewarding to create one that represents your own personal expression……Digital Lady Syd
I really love taking photos but I am slowly realizing that once in Photoshop, I end up with something entirely different than what I had in mind! There is an older book, Photoshop Secrets of the Pros by Mark Clarkson, where players “pass images back and forth making changes as they go” for a set number of rounds, ie., Photoshop Tennis. This book first got me thinking about doing radically different effects to images. Last week I did a blog on Digital Lady Syd’s Photo Art Workflow where I basically showed what I do to give a different feel to an image. This week I am continuing with that theme showing other options to get more of that photo art look. The images are also examples of what happens when I start playing around with different combinations of effects in Photoshop – I am never quite sure what I will end up with. I also downloaded and tried Photomatix Pro’s new program Merge to 32-bit HDR this week so that was part of the first two images’ workflow. This image of the Ormond Heritage Condominiums (located where the old Hotel Ormond used to reside in Ormond Beach, Florida) was first processed as a five-image HDR shot using Merge to 32-bit HDR. The really neat thing is that if you already own Photomatix HDR Pro 4.2 and Lightroom 4.2, you can download it for free from the link above. All you do is select all the HDR images in Lightroom, go to File -> Export and select Merge to 32-bit HDR (or just right click and go down to Export and select the program). A dialog opens where I chose the following: Preprocessing and Merging (Align Images, Crop aligned result,by matching features, and include perspective correction) and Remove ghosts; and Name Merged File: Combined file names and check Stack with first selected photo and Scale pixel values to fixed range. The images are processed very quickly and a TIFF file is placed back with the original images, just as if you had done this in Photoshop’s Merge to HDR, except Photomatix never opens up a program – it all happens inside Lightroom. What a cool little program from Photomatix! The above image was mainly processed in Topaz photoFXlab (see sidebar for website at my Tidbits Blog) plug-in using Topaz Adjust presets. See Image 1 settings below for more info.
When adjusting the crop on the top image in Lightroom, I got a quick look at what a small crop would look like. Basically I just liked the way it looked – the frosted light of the lamp post and the comfortable porch balconies make you want to sit outside and enjoy the view and weather. The only thing done on this image in Photoshop was using Nik Color Efex Pro 4 and stacking a bunch of filters: High Key, Sunlight, Detail Extractor, Dark Contrasts, Bi-Color Filters and Image Borders. It just works!
This image was also processed in Lightroom using PhotoMatix Pro’s Merge to 32-bit HDR. I then did my adjustments on the resulting TIFF file in Lightroom. In Photoshop I decided right away to use the new Topaz photoFXlab program where Topaz Simplify and Topaz Lens Effects were used from the Plugins tab. See settings for Image 3 for the exact info on how this was applied.
Here is the same image with exactly the same settings as in the image above except for the framing, but the twist is that a Hue/Saturation Adjustment Layer was clipped to the Vivid Light texture and set to a Difference blend mode at 71% opacity. I loved the way it looks like as if it is being drenched in some bright light – almost a spooky feeling. I am glad I did not stop with just the image created above as I think I like this one better – there may be more of a story in this image.
The next two images show an example of starting with a night photo taken with my point-and-shoot camera at the Gold Lion Cafe in Flagler Beach, Florida, and turning it into a really interesting almost wintery looking sketch. I did not exactly plan this result. The night image is definitely what it looked like that night as I sat topside and listened to the ocean waves rolling in. But I really like the final image with the artistic pop added.
Here is the image with a more photo art feel.
Both images took a lot of manipulation but the second one used the Layer Styles dialog to get the beautiful color out of it. See Image 6 settings below to see how this was done.
As you can see, if you stick to the basic workflow, which all these images did, but add in that new tool or different feature (like the Layer Style Blend If sliders or the new Lookup Adjustment Layer or a unique crop or blend mode combinations), you can get some very different and interesting images and end up in a totally different spot. As always, every time I work on images, it is always completely consuming and lots of fun – otherwise, why do it? Tennis anyone?…..Digital Lady Syd
Settings for Image 1: Once the Tiff image is taken into Photoshop after making Lightroom adjustments, the background layer was duplicated Topaz photoFXlab plug-in was opened. After duplicating the layer, the Mask tab was selected and the plain sky was deleted. A new cloud image was load using +From File and placed under the top layer. A stamped layer was created using +From Stack and Topaz Adjust was opened up and Photo Pop preset was applied. In the Brushes tab, detail was increased throughout the image. PhotoFXlab was exited. The background was duplicated again and put on top in Photoshop. This layer was taken into Topaz photoFXlab again and Topaz Adjust’s preset Painting Venice was applied. Back in Photoshop a black layer mask was added and the bright areas of the image were painted in to add depth to the trees in the image. ShadowHouse Creations You’d Be Surprised texture was applied using Overlay blend mode at 34% opacity. Finally a Curves Adjustment layer was added. My frame layer style (see DLS Free Layer Style Frames) was added sampling colors from the image.
Settings for Image 3: Duplicated layer in plug-in. In Adjustments tab used these settings: Temp -4, Tint 23, Sat -12, Exp 1.80, Contrast -8, Dynamics 49, Sharpness 51, and Shadows 22. In InstaTone tab image from 500 px of an orange leaf from Aliona Shewtsova and set the layer to Saturation blend mode at 74%, which really brought out the colors. Next a +From Stack stamped layer was created. In Plugins tab Topaz Simplify was opened and the BuzzSim preset was applied as is. In the Adjustments Tab these settings were used: Temp -17, Contrast -5, Dynamics 87, and Sharpness 3. Layer opacity was set to 83%. Stamped using +From Stack. Plugins Tab used Lens Effects and applied Vignette Selective section-Soft Olive Green preset with these settings: Center on right side of slide, Vignette Strength 0.21, and Opacity 50%. Exit plug in. Exit Topaz photoFXlab. Flypaper Apple Blush taster texture was applied using Vivid Light blend mode at 100% opacity. A Curves Adjustment Layer was applied with the individual channels being adjusted to bring out the colors I wanted. My thin double edges layer style was applied (see DLS Free Layer Style Frames).
Settings for Image 5: After basic color adjustment in Lightroom (just a single shot), this image was opened in Photoshop CS6 and Nik Color Efex Pro 4 plug-in was opened. These filters were stacked: Midnight using Neutral Color Set set to 65% Overall Transparency; Bi-Color Filters using the #1 Color Set; and Photo Stylizer using Cool Silver, Style 1, Strength 38% and Overall Opacity 61%. Back in Photoshop Sarah Gardner’s Blush Ginger texture was added and set to Overlay blend mode. The new Lighting Effects Filter in CS6 was used to add some soft light to the center lantern lights – the Spotlight effect was used at an Intensity of 7 and Ambience of 60. A Color Lookup Adjustment Layer set to Abstract and Gold-Blue and the layer was set to a Screen blend mode at 64%. OnOne PhotoFrame (see sidebar for website at my Tidbits Blog) Emulsion 02 was added sampling a dark color from the image for the color.
Settings for Image 6: After applying the same Color Efex Pro filters as Image 5, the image was opened up into Topaz Simplify and a Sketch preset I had previously created was applied so that the lines looked pretty much like a black and white sketch. (To create, use Mode Edges; Colorspace RGB and all sliders in Simplify section – set all to 0.00 except Details Boost 1.00, Remove Size 0.08, and Remove Weak 0.10; Adjust section – Brightness 0.00, Contrast 0.73, Saturation 1.40, and Saturation Boost 1.92; and Edges – MonoEdge Normal, Edge Strength 5.00, Simplify Edge 0.22, Reduce Weak 0, Reduce Small 0, and Flatten Edge 2.28. To adjust the sketch detail and darkness, adjust the Simplify Edge slider.) Now here is the tricky part – a Layer Style was added by double clicking on the layer and in the Blending Options dialog, the Blend If section is used. On This Layer, the black tab was split by ALT + clicking on the tab the split tabs set to 0 and 164 – the white tab was left at 255. On Underlying Layer, the White Tab was split and set to 0 and 72 and the Black Tab left at 0. It looks really weird but it gave me the color effect I liked. This layer was set to Lighten at 100% opacity. A composite layer was created (CTRL+SHIFT+ALT+E) and using Select -> Color Range, the white was selected. CTRL+Backspace to delete the white from the image. Two layers were created underneath the top layer and using Best Mcbad Watercolor Brushes 22 and 30, a watercolor sky was created using blue and light pink. A Hue/Saturation Adjustment Layer was added to increase the saturation in the Yellows. A Curves Adjustment Layer was added to increase contrast. This image used different settings for the Lighting Filter – Intensity 5 and Ambience 93 – only wanted a slight glow since it is daylight. Some clean up was done. My Layer Style (see DLS Free Layer Style Frames) was added to frame the image and that was it! Whew!
I am constantly amazed at how some of my images turn out – not at all what I had expected. This week I am going to go through my photo art workflow step-by-step so you can see what a difference a little tweaking will do. One of my favorite image types to play with in Photoshop are shots of art works. It is a nice break from cleaning up photos of family and large travel landscapes and gives me the opportunity to be creative. This image is of a type of art I had never heard of before that is on display at my favorite local museum – the Lightner Museum in St. Augustine, Florida. These are examples of Victorian era cigar band art. The Photoshop-processed image above is my final photo art result and the one I liked the best, but there were several other choices I considered.
NOTE: If you want to see the settings used for any of the steps, just click on the image and the larger Flickr image will appear.
- Here is the initial image as a RAW NEF file. The dishes were enclosed in a glass case and the camera settings were a 44-mm lens at F/4.8, 1/8 sec, and ISO 1250. There is a lot of light glare on the pieces. This image is not one I would normally choose to process, but I just loved the composition of the items and the colors in the cigar bands.
- My next step was to create a Virtual Copy in Lightroom (this does not have to be done if using Adobe Camera Raw in Photoshop) to try to clean up the tone a little before going into Photoshop. Since only a few changes were done here, it does not look much different. First I go to the Lens Correction section and select the Profile tab where I set my lens info, and then the Color tab where I check Remove Chromatic Aberration (this can save a lot of time later). The next step would be to adjust the Crop of the image if it needs it – in this case it did not. Now adjust the Basic sliders. Also check out the noise in the image and try to correct if needed. Next I right click on the image in Lightroom and select “Edit In -> Edit in Adobe Photoshop CS6″ which now opens up Photoshop, if it is not already open, with your image.
- I am a big fan of combining my plug-ins until I get just the effect I like. If I do not like what results, I just delete that layer and try again. I always duplicate the background first so I know what the image looked like to start. On a really difficult image, which I considered this one to be, I usually will first open up Nik Color Efex Pro 4 – they have so many filters, you can sometimes get a great look right away. Shown below are stacked filters Tonal Contrast, which I believe is one of the best filters in this plug-in; Pro Contrast, which is one of my personal favorites, and works wonders on many of the images I have processed; and Brilliance/Warmth, one of the most popular Color Efex filters – just adds a really soft warmth to an image. Usually I like the Detail Extractor, but it really looked bad on this image due to all the glare on the items. Note that before entering the plug-in, I created a Smart Object (right click on your duplicated layer in Layer Panel and select Convert to Smart Object in menu) as Nik plug-ins work very well with Smart Objects. It allows you to go back into the plug-in and all settings and control points will still be in place so they can be readjusted easily.
- Since there is so much glare in this image, there is only one plug-in I know of that does a good job controlling it and that is my most used plug-in, Nik Viveza 2. It will almost always improve if not remove problem areas on an image. You can see I have added 10 control points on the glare areas (click on image to see the little round circles more clearly in Flickr) to try to even out the tone. By comparing to the above, it is not perfect, but what a difference it makes! The detail and saturation of the image is also much improved. (See my blog Nik’s Viveza 2 Plug-In – A Hidden Gem!)
- Still have issues where the glare is – it needs to be cleaned up and the pink removed since it draws your eye into the left corner and it is distorted by the glare. The Color Replacement Tool was used to turn the pink color turquoise (see settings used in Options Bar in photo and turquoise foreground color in swatch) and some cloning was done on the dish to even out the pattern where the glare blows out the detail. A Hue/Saturation Adjustment Layer was used to get rid of another pink hot spot. I usually try to work completely non-destructively (meaning the original image was not changed by any of the adjustments made on the layers above), but the Color Replacement Tool is destructive and changes are made on the image itself – the Hue/Saturation Adjustment Layer may have been a better choice for this problem area.
- I always add or at least try to add a Curves Adjustment Layer to adjust the contrast towards the end of my workflow. Since I thought I was almost done, it seemed appropriate to add it now. Below is what my curve looked like for this image. I usually just drag the Hand Tool (located in the upper lefthand corner of the panel) in the image to get this correct. It usually is just a subtle change but very significant. In this case I only wanted to brighten up the plate and mug where the color was located, not enhance where the glare was. The Curves Adjustment layer mask was turned black by clicking on the mask and CTRL+I to invert the color from white to black. Then a soft 30% opacity brush was set to white and used to gently paint back the areas where the I wanted additional contrast and color. This was a good point to create a composite layer that combines all the layers below into one on top by clicking (CTRL+ALT+SHIFT+E) – this helps when the number of layers gets large as some techniques need a single layer to work correctly – this can especially be a problem with the Clone Tool.
- At this point I thought I was getting the image to a final look. I decided I wanted sort of a vintage type edge on the image, so I used one of my very favorite textures, ShadowHouse Creations Old Photo 6. After trying several blend modes, I selected the Exclusion blend mode (which I do not use that much but worked in this case) set to 53% opacity. Still not sure it was quite what I wanted so I decided to add one of his new Assorted Mask Overlay (08) and set it to Soft Light blend mode at 100% opacity. Basically just the beautiful edges were used on both layers, and the image center was mainly painted out using black in the layer masks to keep the basic image intact. I often use the free Russell Brown Paper Texture Panel to try out and stack the various textures (the green square at the top of the icons to the left of the panels opens it up).
- I must be done???? But then I thought, I wonder what happens if I take this image into the new Topaz photoFXlab (see sidebar for website in my Tidibits Blog). Well that proved to be a problem because I started finding all kinds of new effects I liked on this cleaned up image. The settings below were applied as a first step to the bottom layer for all the different Topaz effects tried on this image.
- I duplicated the bottom layer in the plug-in and applied from the Effects tab a preset called Lithography by H. Hurst (Topaz used the preset from Topaz Detail) and set the layer to 65% opacity. In the Adjustment tab, the Saturation slider was set to 20. The Dodge Brush was used from the Brush tab to whiten around the pupil of the eyes of the girl on the plate using a brush strength of .10. Next the lips were slightly reddened using the Saturation brush. It was saved in the new Topaz extension .pfxl so the settings could be readjusted at a later date if needed. Clicked OK and applied to it to the image in Photoshop. At this point I did create a note to remind myself exactly what I did in the plug-in since I am still learning about the new extension. The image that resulted is shown below.
- To be honest, I just didn’t love the final result so I decided to delete the layer where I applied the photoFXlab plug-in and start over in this plug-in. This time I decided to try out the results using the Plug-in tab and selected Topaz Adjust 5. Here I tried out one of my favorite presets I created from the French Countryside preset in the Vibrant Collection. It looked nice and more like what I wanted. I use this preset a lot when I want a nice artistic feel.
- I decided to try one more preset just to see if I liked it and sure enough, it is the one I selected. It is in the Stylized Collection and is called Painting-Venice. I added several settings in the Finishing Touches section: Transparency – Overall Transparency slider to .7, Color – Warmth 0.03, and Tone – Quad Settings as shown on the image – the correct colors should be set already. Once out of the Adjust plug-in, in the Adjustment tab Exposure was set to 0.38, Contrast to -3 and Dynamics 24.
Well this is a good example of my workflow for a photo art image. I could have used OnOne Software’s wonderful Perfect Effects (see sidebar for website at my Tidbits Blog), or any of the other plug-ins offered by Topaz, but it just depends on what I think will work. Overall the main components are 1) process as discussed above in Lightroom, 2) take into Photoshop and do any clean up, 3) add plug-in effects, 4) add any textures if you want, 5) I always go to Viveza 2 now, 6) do any extra sharpening or noise reduction that might be required, 7) add a Curves Adjustment layer for final tone and contrast, and 8) add any framing. I hope you can see that even though a change is very small, it can be very significant to the photo, and that you can always change your mind. An image can take on such a different feel with different plug-ins and textures applied. I thought originally I wanted a very sharp almost HDR look for this image, but I ended up with a very bright painterly result. I am happy with it but it is not exactly what I had in mind when I started! …..Digital Lady Syd
Since I have reached this major milestone, I decided this week I would show a few examples of what I use the most in Photoshop and what is the most fun for me when using Photoshop. In some of these cases, I will be mentioning certain products or people but that is mainly because I really like what they do – they do not know me. Also, no external plug-ins will be discussed here.
- Photoshop’s Merge to HDR 32-bit ability that can be adjusted in Lightroom 4.1 (see my blog New Lightroom and Photoshop 32-bit Processing Capability)
- Photoshop’s Puppet Warp magic (see Straightening with Puppet Warp!)
Several things were done in Photoshop to process this image of a sailboat model of the USS Constitution located at The Casements in Ormond Beach, Florida. The most important is that a 32-bit tone-mapped image was created in Photoshop’s Merge to HDR, saved as a TIFF file, and then brought into Lightroom 4.1′s Develop module using the sliders to bring out all the details. This now makes Photoshop’s HDR processing on par with several of the other HDR software programs. The TIFF image goes back into Photoshop to finish up using another one of my favorite tools – Puppet Warp – to straighten out the extreme warping in the original image (it was actually applied twice). It was a difficult image to work on since it has a square glass encasement and the horizontal louvered blinds in the background. Just using the arrow keys is sometimes enough to push and pull the image pins the correct amount and Puppet Warp works much better than Lens Correction or the new Adaptive Wide Angle filters for me. Puppet Warp can be used in a Smart Object for readjusting later if needed.
- Russell Brown’s Paper Texture Panel for Photoshop CS5 and CS6 (see Russell Brown’s Paper Texture Panel Updated!)
I am slowly really getting into textures – they just do so much for a boring image. The texture above was created using one of the best panels you can apply to Photoshop and that is Dr. Brown’s (may be the top Photoshop guru of all time and works for Adobe) Paper Texture Panel – biggest time saver for anyone that likes to experiment with textures! This is one feature I use all the time and can’t believe I used to go through my textures individually to try them out. To really enhance this process, create a folder on your desktop that contains several sub-folders to place copies of your favorite textures. He recommends keeping these folders to around 20 textures as it takes a while to load if it is much bigger. I have sub-folder on textures I created, my favorite textures I use all the time, and a few on textures I have downloaded or bought. You can switch folders very quickly in the panel. This image used Paul Grand’s Scratches Texture and Gavin Hoey’s beautiful grunge frame 1. I am also putting a plug in here for my favorite texture guy, ShadowHouse Creations, who offers all kinds of beautiful textures for free, and I use them all the time. I reference his textures in many of my older blogs.
- Photoshop Brushes including the wonderful Mixer Brushes! (see Adobe Photoshop CS5′s Mixer Brushes)
Those wonderful brushes in Photoshop! My very first blog featured the above image where I actually used a Photoshop Mixer Brush to paint in the petals of the flowers. This is still one of my favorite painted images – the Oleander flowers in the original were not near as pretty. The background was a Karen Sperling texture called 08Sperling (I believe this now has to be purchased – not sure how I got it) that added was a very delicate complement to the image. She is actually a Corel Painter Master and does some wonderful things in that program.
- The Curves Adjustment Layer (see I Didn’t Know That! Curves Adjustment Layers)
Totally indispensable! The last step I always do before I save an image. A few months ago I viewed a short video tutorial at Kelby Training called Mastering Curves: Adjusting Tonality by Ben Wilmore, another great Photoshop guru, who teaches how to use Curves correctly. (I have found the Kelby Training tutorials to be the best you can find on every aspect of photography and photoshop.) The basic thing to know about Curves is that by selecting the hand tool in the top left of the adjustment panel and dragging straight up in the image it lightens it up, and down darkens it. If you get two dots close and rather flat on a Curve line, you will lose detail. A black layer mask can be created to target just the areas you want changed. It is a pretty simple technique but can improve an image quickly. Also you can save Curve settings if you want to apply them again. The image above of the beautiful birds in the Spring at the Rookery used several Curves Adjustment Layers to match the tones for the composite.
- Layer Styles to create simple framing effect (see Digital Lady Syd’s Free Layer Style Frames).
I have been using this Double Edge Frame layer style a lot on my images – gives a nice clean look with colors that can be sampled from the image. Also plain black borders can easily be created. To download this layer style for free or directions on how to create it, see my blog referenced above. There are many other uses for layer styles that I love, but I use the frames the most. Also a couple textures were added here with Dr. Brown’s Paper Texture Panel.
- Smart Objects (see Black and White Photo or Not? Give It a Try on That Difficult Image)
I love the way you can go back in and fix your settings if you do not like the way they look. Most of the plug-ins I use have Smart Object capability and this is why I use them. I can’t tell you how many times I have gone back into Nik’s Viveza 2 and adjusted my control points! Just another great Photoshop feature. The image above of the Hilton Time Share swimming pool on the Big Island in Hawaii used Smart Objects for both the Nik HDR Efex Pro using Granny’s Attic preset and Viveza 2. Also two Curves Adjustment Layers were used.
I could go on and on about all my favorite features I love. The above are some of the ones I use the most. I thought about writing on the new Defringe section in Lightroom 4.1 and Adobe Camera Raw that works wonders on this problem – better than any of the noiseware software available for controlling the ugly fringe problem. The new sliders in both are much improved and both now do a great job on reducing noise too. Also the Graduated Filter is much improved. Back in Photoshop I love being able to use LAB mode to sharpen some of my images selectively. Content-Aware tools cannot be beat but I still use the plain old Clone Tool the most. And the improved Sharpen Tool is fabulous for those little areas that need a detail boost. I even love the Color Replacement Tool that hardly no one uses! And all the blend modes just add so much to an image. Needless to say, there is a lot to like about Photoshop and so many ways to do things. I guess the real fun is learning new ways to use it and that is why I blog! Hope you have enjoyed some of what I have learned these past couple years!…..Digital Lady Syd