This week I am presenting an oldie but a goodie that was done quite a while ago. Decided to try it out again with some new images and I still like this technique. It is just slightly different from the normal Dodge and Burn techniques and very simple to do. The above image was taken on Maui, Hawaii at the very breezy Laupahoehoe Harbor.
I learned this at a Photoshop World several years ago and am not sure who even presented it. It was just in my notes so I thought I would give it a try and got some really nice results! The workflow is pretty simple:
- Duplicate the image twice after doing the basic color and tone corrections to the image.
- Add black layer masks to each layer by holding ALT key while clicking on the Add Layer Mask icon (rectangle with circle in center) at the bottom of the Layers Panel or by pressing CTRL+I in a white layer mask.
- Now on the top duplicate layer, change the blend mode to Linear Burn and name it Darken.
- On the layer underneath, change the blend mode to Linear Dodge (Add) and name it Lighten.
- Using a soft round brush set the Options Bar Opacity to 9% and Flow 55%.
- On the Lighten layer mask paint in white over areas to brighten. Do same for Darken layer mask on areas to darken. Since the Opacity and Flow are set fairly low, it will be a build up effect to get just the amount needed.
It is a very easy way to add a little color and/or focus to different parts of your image. If the effect is too strong, just lower the layer opacity. Also, the Linear Dodge (Add) blend mode could be used as a spotlight effect to fill darker areas with some soft light. For the above, the Lighten effect used the Linear Dodge (Add) blend mode at 75% layer opacity and the Color Burn blend mode did a great job on darkening with a layer opacity set to 48% – the Linear Burn was too much for the shadows in this image.
Just to let you know what is happening with these blend modes, here are the blend mode explanations according to Lesa Snider in her Photoshop CS6 – the Missing Manual book (an excellent book BTW):
Linear Dodge (Add) – “Lightens your images by increasing its brightness. It is a combo of Screen and Color Dodge modes, so it lightens images more than any other blend mode. But since it tends to turn all light colors white, it can make an image look unnatural.”
Linear Burn – “In this mode (which is actually a combination of Multiply and Color Burn), Photoshop darkens your image by decreasing its brightness. Linear Burn produces the darkest colors of any Darken blend mode, though with a bit more contrast than the others. It has a tendency to turn dark pixels solid black, which makes it ideal for grungy, textured collages…”
From this it is apparent that Linear Dodge (Add) can make an image look unnatural so take care when using it. And Linear Burn can give a grungy effect so watch the results of this. Therefore if your image does not look quite right, try changing the layer blend modes to Screen or Color Dodge for the Lighten layer, and Multiply, Darken or Color Burn (as I did above) blend modes on the Darken layer. Experimenting with blend modes can give some great effects! This image is from the Big Island in Hawaii after a short rainfall. Just painted areas to lighten and areas to darken using both the Linear Dodge and Linear Burn blend modes. Used Nik Viveza 2 to even out the colors.
Hope you get a chance to try this little technique – pretty easy to do and can give some great results. See ya later!…..Digital Lady Syd
This has been a major busy week for us Photoshop people so I thought I would pop in with what’s new. The above image was post-processed with the new Aurora HDR update using 5 layers including one that totally softened down the clouds. This program is turning out to be a favorite of mine, especially when wanting a really nice sharp look.
Adobe Camera Raw/Lightroom Updates
Apparently the biggest news is that Adobe added the ability to sync your presets and profiles with Lightroom Mobile on your phone and tablet. In LR Classic the Preset Rollover feature can now be turned off and the Profiles feature can be stopped by just holding down the ALT key while selecting and no previews will be seen. To me the best feature is that any preset folder can be turned off by right clicking the plus sign on the Preset column and select “Manage Presets.” Then uncheck the ones you do not want to see and click save. This seems major handy to me. It can also be done to the Profiles by right clicking on any profile group – then uncheck ones not needed and save. There are a couple other features for stacking images and adding label colors for folders. Check out Scott Kelby’s Lightroom Classic 7.4 Update blog on Lightroom Killer Tips for more information.
Skylum’s Aurora HDR 1.2.0 Update
I really love both the Luminar and Aurora HDR programs that Skylum owns, but lets face it, we Windows people still are not quite caught up with the Mac versions. (For website links, check out the sidebar at my Tidbits Blog.) Aurora now supports batch processing – it seems all the plug-ins are rushing to get this added to their programs. Other updates includes a new White Balance/Eyedropper Tool, layers can be renamed, and quick previews are enhanced. Aurora seems not near as finicky – the brushes work smoother in both the layer masking area and the Darken & Brighten filter. That was one area that needed improvement. For more update info, check out this page called Aurora Is Better Than Ever.
On1 Photo Raw 2018.5
On1, not to be outdone by Lightroom, did a huge release this week and it appears to be really good! This program is starting to grow on me. When I first got the new On1 plug-in several years ago, it ran my computer hard and I did not like that. Now this is not a problem and it is lightening fast when adding files into its Browse module. One of the areas that I am totally loving is they have added lots of new LUTs (lookup tables) that can now be hovered over to see the effect. You can now right click and choose Create Version which is the same as a Virtual Copy in LR – love that! There are so many things that it is best to just check out the website to find them – I am still digging through it all. (For website link, check out the sidebar at my Tidbits Blog.) I will blog on its new features soon after I have had a chance to try them all out.
These beautiful pink azaleas were growing in my yard a while back. What a perfect color of pink! Most of the post-processing was done in the new stand alone version of On1 Photo Raw 2018.5, but a little more was done in PS. The Effects module’s LUTs filter was applied with the Color Pop category and Honkey Tonk LUT. Just loved the result. Also used my favorite Dynamic Contrast and Sharpening filters at their default settings.
Topaz Studio AI Clear
I love Topaz and this is their newest filter released this week. (For website link, check out the sidebar at my Tidbits Blog.) It detects and removes noise in an image while sharpening the details at the same time. They say the filter “uses the insight of a custom neural network trained on millions of images to detect and reduces noise as well as enhances details in your images automatically.” When I tried it out, it did a pretty good job on my images. But it seems to overlap with their really good Noise Reduction and Detail/Clarity filters – I need to work with it more to understand how to use it properly. In the Disney Tomorrowland image below, one of my new favorite filters, AI ReMix, was applied and then Topaz Adjust was added on top. Topaz recently added several new presets to the filter which gives a lot more choices for making images more interesting. There are so many ways to use Studio that is it a bit mind-boggling.
Google (Nik) Collection
Last, but not least, DxO recently bought the Nik Collection from Google. They have now updated the collection to run with all the operating systems. I do not believe any new filters have been added to the group, but now it is functioning properly for everyone. If you have had problems with the original aging plug-ins, I would definitely recommend updating to this new version. To get the upgrade, here is a link. I am so glad these filters are being updated and will continue to be used. It contains my favorite plug-in that I use on almost every image – Viveza 2 so I could not be happier!
Well that’s it – just thought I would catch you up since it seems like a lot is going on in the plug-in world. I am so glad the plug-in folks are busy adding to their collections and improving their programs to keep up with the times. Have a great week!…..Digital Lady Syd
Just popping onto my blog to go over a fun painting/drawing technique I attempted recently. This young lady is an illustration I drew in Photoshop only using the reference stock photo from Little Girl Stock as a guide – no painting over the image. This is my first attempt at digitally drawing an image. I made it of a little older young lady as it fit what I felt like drawing. I am learning this technique from David Belliveau and his Paintable website, who had a One Week Portrait Class with lots of videos and brushes. I found the whole thing very addictive – who knew I could actually create an illustrated portrait??? For a quick overview of what he does, check out his Digital Painting Walkthrough: Portrait Tips & Tricks video. If you are interested in downloading some good Photoshop painting brushes, check out his How to Paint Realistic Eyes: The Ultimate Guide video. It includes a set of 14 brushes and 1 Smudge Tool preset (which I really love) to go along with this tutorial (but also will work on any painting project). The video goes over a short example of painting eyes that follows the same basic steps of his digital painting program.
This image took a long time to complete and lots of mistakes were made along the way. I am not sure when David will be running another one of his Portrait classes. He has so many videos posted on YouTube that it would be pretty easy to learn. I tried to paint another example for this blog, but it just is not ready to present. It is a very time-consuming process. I can see this definitely takes a lot of practice. And even though I liked David’s brushes, some of my other painting brushes worked really well. I created a group of Portrait Painting Brushes in the Brush Preset Panel. There some of David’s brushes were added along with several of my favorite Grut Brushes (Grut-I Qwillo-my favorite drawing brush for sketching, and Grut-My Dehy-good texture brush especially nice for skin and eye irises). In the meantime, if you are interested in trying out this type of digital painting, check out David’s You Tube videos where he has lots of great information posted. I think he is an excellent teacher and a lot can be learned. Enjoy your week – I am going to be painting another person!…..Digital Lady Syd
Just popping in with a couple images of one of my favorite subjects, birds! Been busy taking a few on-line painting and photography classes and trying to get a little time to try out some new things. Both these images (which are not painted) were improved by following some of the techniques of one of the best wildlife photographers, Moose Peterson. He is just one of the many people who have created some really great classes on KelbyOne. Moose also has a great blog (if you check out his latest blog, he is talking about something I am super-excited about – an update to the Nik plug-ins! – Yeah!!!) and website with lots of good information to improve your photography. Anyway, his classes are just really good and easy to follow and not all that complicated.
Lightroom and ACR Sharpening’s Masking Slider Tip
The snowy egret above was taken at the St. Augustine Alligator Farm rookery. They are one of my very favorite birds to photograph because of their beautiful feathers they spread during the mating season. One thing I did learn from Moose (in The Secrets to Creating Super Sharp Images class) is how to properly use the Masking slider in the Detail Sharpening section in Lightroom (and ACR). Look at your subject and only sharpen for your subject, and as little of everything else. By holding down the ALT key and moving the Masking slider, many different thicknesses of white lines will appear in the black mask. The white thick lines will indicate the “plane of focus” and should be around the subject and any other areas in the same plane. (This is also a great way to find out if you actually did get what you wanted as the main focus of your image.) The smaller lines are not as important. Now the Amount can be increased to sharpen the image correctly.
Most of the post-processing was done in Lightroom using the Adjustment Brush and Radial Filter to sharpen the bird up and darken the background down. In Photoshop a Color Lookup Adjustment Layer was added using the Foggy Night preset (my personal favorite) set to 9% opacity. A Hue/Saturation Adjustment Layer was added next and in Master, the Saturation was increased to +38. The layer mask was filled with black and only parts of the birds body was lightly painted back. Two Curves Adjustment Layers were added and set to Luminosity blend mode for Dodging and Burning (see my How to use Curves Adjustment Layers to Dodge and Burn an Image blog). Then just a couple layers set to Overlay blend mode were added to even out a few of the lights and darks in the foreground and background areas. Ended up with just the standard frame around the image (see my How to Create a Quick Layer Style Border or Frame blog.)
For this image of baby Snowy Egrets one of the new LR (and ACR) Black and White profiles called B&W Blue Filter was applied, and 4 graduated filters set to Exposure -1.00 were placed around the birds to darken down the edges. Just a few Basic sliders were adjusted a little, mainly Highlights Shadows, Whites and Vibrance. A Dodge and Burn 50% gray layer was used to sharpen up the little guys a bit. Used a Level Adjustment Layer to bring back the background into focus just a little.
Film Grain Effect
I wanted to give the B&W image a little softer feel so a Grain Layer was added. This is a tip from an older KelbyOne class by Katrin Eismann (another brilliant Photoshop guru) called Color to Black and White Artistry but the basic concepts are still current. Using this method gives a really natural subtle result to the image and adds the effect in the areas you want it, mainly the Blue and Green channels, and leaves the Red Channel alone where usually the subject resides. The film grain is added in a very natural way so that the Blue Channel gets the greatest amount of noise, Green channel less, and Red Channel the lowest amount. The steps are as follows:
- Go to the Channel Panel. Note that all Channels have the Add Noise Filter set to Gaussian and Monochromatic.
Highlight Red Channel and go to Filter -> Noise -> Add Noise and set Amount to 4%
Highlight Green Channel and go to Filter -> Noise -> Add Noise and set Amount to 6%
Highlight Blue Channel and go to Filter -> Noise -> Add Noise and set Amount to 8%
- Next Highlight each channel and go to Filter -> Blur -> Gaussian Blur and set Radius Amount to 0.3%
- In the Layer Panel, change the blend mode to Luminosity so any color noise is reduced. Can also adjust the layer opacity if the effect is too much.
I actually put these steps into a simple action that works great. Well that’s it for this week. Be popping in again soon!…..Digital Lady Syd
Thought I would pop in with this short little blog. Had some fun this week working on a daytime to nighttime image of a street in Edinburgh, Scotland. I had really never found a technique that looked completely realistic. Colin Smith at Photoshop Cafe has a video called How to Turn Day into Night in Photoshop in 3 Easy Steps that really gave a nice finished night effect. He goes beyond just changing the brightness of the image and gives some tips on how to make the lighting look very realistic. It was a lot of fun to create the sky – used four different items : original sky from Texture Mate 9 (missing a link for this) at 100% layer opacity, then the next three are all from Design Cuts – Space Watercolor Backgrounds Artistmef 3 at 19% opacity, Polarity Space Backgrounds by Skybox Creative using Deep Blue Universe (these look really good in any sky images to add just a hint of clouds in the sky at low opacity) at 11% layer opacity, and Feingold Shop Vintage Moon 4. A Color Lookup Adjustment Layer was added in the group and set to the Moonlight preset at 79% layer opacity. Then followed Colin’s technique to light the windows and make it all look natural. It is not really that hard, and he explains it very clearly. Below is the original image brought in from Lightroom.
Well, hope everyone is enjoying the beginning of the hot summer season. I love the warm weather!…..Digital Lady Syd
Just dropping in this week to share this composite Leopard image. The whole image started because of a blog that Chris Spooner recently wrote called How To Create an Animal Fur Text Effect in Adobe Photoshop. I am not sure how often I will use this text effect, but he gives instructions on how to make a fur brush using the Pen Tool so I had to try it out. It has turned out to be a very nice brush and was used in several places in the above image. The actual brush created has several little spikes sticking out in a circular manner and is mainly used to create a fur edging on a path for the actual text effect. I personally found it to be very useful for adding softness to the edges of the Leopard around the cat’s body and to add more of a hairy emphasis to the lettering edges. I applied it manually using different sizes. I wanted to use it as a Clone Stamp Tool to add some of the actual texture and color from inside the Leopard body to the outside edges. That is how the steps below were created which turns a Regular Photoshop brush into any other type of Brush Tool. Since PS’s latest updates that now keep a brush’s Options Bar info with the brush preset, it has been difficult to use it for other Tools such as the Clone Stamp, or Eraser, or Smudge Brush. So here is the trick to actually using the brush for other tools:
- Save the Regular Brush created as a preset in the Brush Settings Panel using the default settings if the brush was just created. The Create New Brush icon is at the bottom of the Brush Settings Panel or the Brush Preset Panel (located to the left of the Trash Can) and the brush will be shown at the end of the list in the Brush Preset Panel. If brush to be converted is already listed, skip this step.
- Highlight this brush in the list and create a new preset by clicking the Create New Brush icon as in Step 1.
- When dialog opens up, Rename brush but do not check “Include Tool Setting” – now no tool will be connected with this brush. No brush icon appears to the right of the name in the Presets Panel.
- Select a different Tool such as the Clone Brush Tool. The settings from the regular brush are now connected to the selected Clone Stamp Tool.
- To save this Clone Stamp brush, create another preset and this time check “Include Tool Setting” – all your settings will be preserved with the brush.
For the above fur brush, the spiked ball brush settings from both the Brush Settings Panel including the dab structure and the Options Bar settings are now part of the my new Clone Stamp brush which was immediately saved down as a new Clone Brush to retain the settings.
It seemed to take a long time to complete this image but all the layers are just the same ones used in any composite. The Background was created in Corel Painter. The Fur font is Cosmi 04, a really old font. The Leopard font is one called Braveheart, which was rasterized and warped on a New layer to get it to fit over the Leopard (which was a free image from Pixabay). The font letters were also connected by hand as they did not look correct after warping. On1 (for website link, see sidebar at my Tidbits Blog) Photo Raw 2018 Effects was used to initially sharpen the leopard. The cat’s Paw and the little cat are a set of brushes from Brusheezy and a black leather texture was clipped to the paw. The fur brush was then used to paint on the paw print at a low opacity to get the shiny highlights. A Dodge and Burn layer at 50% gray set to Overlay blend mode was used. A shadow was created for the leopard and smudged to smooth out. One of the legs of the leopard look strange so the front forward paw was duplicated, warped and placed in back to cover up this area. The last step involved going into Topaz (for website link, see sidebar at my Tidbits Blog) Studio and applying AI ReMix using the Ink Blot swatch set to Overlay blend mode at 0.89% opacity (Topaz Studio has added several new swatches to AI ReMix so if own it, update to get them). It gave the whole image a sort of abstract feel. This was all very easy to composite.
If you like making brushes, I would recommend checking out Chris’s tutorial – it is a really interesting brush and a new way to create a brush effect. Well, so much for being gone – will probably miss the next couple weeks. Hope you are enjoying the lovely Spring weather!…..Digital Lady Syd
This week I wanted to say that I will be taking several weeks off from blogging (after 7 1/2 years of this) to take care of a few other things on my list. Will be popping in as time allows and will definitely not be closing my site. Just a temporary break as these blogs take some time to do and my schedule is currently a bit limited. That being the case, I will present a quick sketch tip today that was used on the above image of a Japanese Festive Doll at the Hilton Waikoloa Village on the Big Island.
First began by creating a sketch effect. This was one I had forgotten about from the great Photoshop guru, Corey Barker, who used it in a tutorial a long time ago. This effect was first done on the doll image and then on the background image. This technique can be done on just one image also. Make sure you have all the clean up that needs to be done on the image(s) and also make sure the image is a sharp as you wanted. The background was from an image on Unsplash by Sorasak of Kyota, Japan – when opened in Photoshop, it had a resolution of 72 so this had to be changed: go to Image -> Image Size and uncheck the Resample box – change the resolution to 300; then click the Resample box again and set to Bicubic Sharper (reduction) since the size of the actually image gets much less (though still pretty big). Now to create the Sketch Look.
- Duplicate the background and desaturate the image. This can be done quickly by either pressing CTRL+ALT+U (Image -> Adjustments -> Desaturate), or could add a Black & White Adjustment Layer, or a Gradient Map Adjustment Layer set to Black and White gradient or a Hue/Saturation Adjustment Layer with the Master Saturation set to -100.
- Create a stamped layer on top (CTRL+ALT+SHIFT+E) and set the layer to Divide blend mode. Now you see a sketch effect.
- Go to Filter -> Blur -> Gaussian Blur and set the Radius to a sketch effect you like. The doll was set to 5.5 pixels and the background to 24.9 pixels which gave a heavier look to the lines of the city. There is your sketch.
- To add color back into the image, duplicate the bottom background layer and place it on top. Add a black layer mask to this layer and gently dab into the mask with a lower opacity brush. The color will appear very much like an illustrated watercolor effect. On this layer, other filter effects can be used like from Topaz (see sidebar at my Tidbits Blog for website link) Studio or Nik Color Efex Pro 4 to give a different color and look to the color being brought back into the image. Or add another copy on top of this layer to get even more effects into the image.
For the doll, another 2nd copy of the background was placed on top, then CTRL+I was pressed on the layer thumbnail to invert the colors. A black layer mask was added and just a bit of complementary color was added back into the image to add interest.
To finish the image, the doll was selected using the Quick Selection Tool and Select and Mask in Photoshop. The layer was then taken into the Kyota image where the sketching and light color effect was already done. A stamped layer was created and then Topaz Adjust’s Setting Sun preset was applied. A Levels Adjustment Layer was used to bring back some of the image contrast and then on another stamped layer Topaz ReStyle was opened and the Travertine Tint was added. A Curves Adjustment Layer was used to add more contrast back into the image. Some clean up and a watercolor edge was done to complete the image.
Well I hope you get a chance to try out this sketch technique. It is pretty easy to do and works rather nicely, especially if you want to add some color back into the image. I will be returning in a few weeks……Enjoy the Spring!…..Digital Lady Syd