It has been a busy week as CreativeLive has had their 5th Photoshop Week and it was really good! There were lots of interesting classes covering all kinds of Photoshop uses. Plan on getting some new tips and tricks together to present soon on my blog. This week I am showing my pretty little Oleander flower growing in my yard. This flower was shot using with my Lensbaby Composer at F/4 using a Macro +4 Lens, which is why it was so soft and wispy looking. There is a newer version of this lens, but mine seems to still work well, especially on macro shots. I would recommend your trying one out if you get a chance.
In Lightroom just the Basic exposure and contrast sliders were adjusted. Then the image was taken into Photoshop and Topaz (for website see my Tidbits Blog‘s sidebar) Impression was opened using one of my presets (SJ Watercolor like effect on bldgs. – click link for settings at bottom of blog.) Some Mixers and Regular brushes were used to smooth out the background and paint the actual petals. Added one of my textures on top set to Soft Light blend mode at 62% layer opacity. One of Kim Klassen’s older beige textures was then added and set to Multiply blend mode. A Blue Luminosity Curve was created and an S curve was used to increase contrast.
Now to the Topaz Texture Effects 2 tip. In the above image, the plugin was used to only add two stacked light leaks. Presets are just a guidelines for effects that can be added, but this is not where the power lies in this plugin. By clicking up in the top right-hand corner in the box that says New and than Add Adjustment, all kinds of choices are opened up. To add the two Light Leaks in this image, the Light Leak section was added twice, once for each leak added. It was then saved as a preset since I liked the effect of how the two leaks blended. There are 13 different section types that can be added as often and in any order as needed. Only one light leak can be applied and that may be all that is needed in your image. Could use just a diffusion effect, or several texture sections, or only the Double Exposure section for your image. Texture Effects has so many sections with so many sliders and a great masking capability with blend modes, making it easy to tweak the individual sections once opened in the plugin. It is a bit like using Lookup Tables in Photoshop, but much more flexible.
To finish up this image, a Selective Color Adjustment Layer was used to add some blue tones to the shadows by adding blue to the Black color. The flower does really light up! I would recommend you try out Texture Effect’s different sections without using a texture to see what fabulous capability this plugin has built into it. Be back next week with some new tips!…..Digital Lady Syd
While visiting the St. Augustine Alligator Farm Rookery, I decided to take a spin around some of their other exhibits and see what was going on. In fact that is where the An Army Tortoise Tidbits Blog image started. Well not only are the Florida birds having babies, but so are some other bird inhabitants, the Vultures – in fact there were two chicks born in recent months. Above is a wonderful Cape Griffon Vulture baby boy chick born on March 4th. For some reason he is being raised by a foster mom (Sefara as seen in the image) and foster dad (Kwa) – I can honestly say they keep all the other birds away from him. He is only one of four hatched chicks in North America and all were born here. Below is a family portrait of the Hooded Vulture chick with her family. This baby was very quiet and I could hardly see her in my camera, but apparently she had spotted me. This baby girl was born on February 24rd and is sitting with her parents Ashaki and Bosco (the adult bird that acts a lot like her mother). It looks like the dad is wearing a tux quietly in the background! Both vulture species are on the Endangered Species list. Lots of noise going on in this exhibit!
Enough about the birds – they are just so fascinating! Not a lot was done to the Cape Griffon Vulture image other than my overall workflow with a pretty good dose of Topaz (for website link, see sidebar in my Tidbits Blog) Detail 3 to pop those feathers just a little. (Here are the settings used – apply to images that are a little soft in places, especially on birds and their feathers: Small Details 0.60, Small Details Boost 0.12, Med Details 0.22, Med Details Boost 0.22, Large Details -0.02, Large Details Boost -0.08. I called this preset SJ Add Detail. Add a black layer mask (click in white mask and press CTRL+I) to the layer after exiting out of the plug-in and just paint back where needed in the image. Use a large low opacity brush like 20% and build up the effect to make it look natural; use a smaller brush on dark lines that need to be more emphasized. It is easy to overdo this so try adjusting the layer opacity to reduce the effect.) Used a couple Exposure Adjustment Layers on the eyes and beaks (see my How to Do a Quick Eye Sharpening in Photoshop blog), and Nik Viveza 2 to adjust the focus more onto the chick and less on the Mom. Used Matt Kloskowski’s subtle vignette (see my How to Create a Subtle Vignette blog). A Hue/Saturation Adjustment Layer was used to emphasize just a couple colors in the image, keeping it mainly in a light sepia tone. Birds can be tricky when shooting – it seems like they are perfectly still, but they actually are moving a little bit of a wing or foot or something. When you get ready to process their images, it is easy to see. Birds are pretty amazing and agile.
For the Hooded Vulture Family portrait below, pretty much the same work process but without the desaturating effect. This image was actually not as good since they were way off to the side and I had to do a massive crop. Not much of the Topaz Detail 3 plugin effect was added into this image – just in a few places like with the dark area of the back bird and a few of the Mom’s bird feathers.
Well hope everyone is celebrating a great Mother’s Day or at least giving your Mom’s a call! We only get one day a year to enjoy the kids we are so proud of, just like the Cape Griffon Vulture and Hooded Vulture Moms!…..Digital Lady Syd
Just another quick post to pass on a pretty nifty short tutorial that Chris Spooner at Spoon Graphics posted this week. It is called How to Create a Water Painting Effect in Photoshop and it was pretty easy to follow. I have tried it out on a couple different images using different paper, painting brushes, and a few different filters after applying the ones he suggested. Since a Smart Object is created to get the base effect, images can be swapped out without changing the rest of the set up or border once created.
This image is one I took from Stirling Castle in Scotland. After applying the filters and adding a layer mask, a border was created using the McBad Brush 30 that Chris links to in his post for creating the watercolor effect border. In the Brush Panel, try changing the Shape Dynamics Angle Jitter of the brush to something pretty high like 70% to get some nice edge work on the border. For this image, a stamped (CTRL+ALT+SHIFT+E) layer (with the Paper border layer turned off) was created on top of the layers but underneath the border paper. Topaz (for website link, see my Tidbits Blog sidebar) Impression 2’s Abstract Settings-Blake Rudis preset was applied and set to, of all things, Division blend mode at 0.50 opacity. It gave the image more of an overall watercolor effect. I think many of the Impression presets would work well with this technique. A New Layer was added and using Grut I Dusty Covet Brush, lines around the tops of the buildings were sketched in to add a bit of realism and definition to the roofs – then lowered the layer opacity to 80%. On another stamped layer (with the paper layer off) Topaz ReStyle was applied – this time I had a preset created a while ago, but there were probably 20 presets that looked good on it. It seemed to even out the colors that in the final image. To give the image a real watercolor look, Grut’s W Mud Puddle Watercolor Brush was used to extend out the edges of the image into the border with strokes and paint in some solid roof colors and tree areas. As a side note, Nicolai at GrutBrushes has some really good things going at his brush site: a free brush every week (I definitely take advantage of this as different media brushes are presented), a free Photoshop Brushes Sampler with lots of nice brushes and a free Watercolor Brush called Cherry Pectin that is also in the sampler. The Cherry Pectin brush would have worked great for painting border edges also. I think this made a huge difference from the slightly canned look the original tutorial supplied. The image was way too vivid for my taste as a watercolor, so a New Layer was filled with white above and set to 16% layer opacity to calm it down a bit. The last step was to add Nik Viveza 2 to draw the eye to the orange buildings in the lower left corner and the painted bridge.
Well, still taking it easy but wanted to share – hope you get a chance to try out this technique. Chris Spooner has several nice tutorials on his site you might also like. Later…..Digital Lady Syd
Yesterday I had an opportunity to visit one of my very favorite places to photograph our beautiful Florida birds, the St. Augustine Alligator Farm Rookery. By visiting at various times of Spring, different types of birds and behavior are present. But beware, it is a pretty busy place for not just birds – if you get there early, you are trying to negotiate lots of photographer tripods, and as the day wears on, a myriad of kids arrive. All good fun though! This week the Wood Storks, Snowy Egrets, Blue Herons and Roseate Spoonbills were all very busy making nests. Therefore I had a chance to shoot lots of flying birds with all kinds of branches and leaves hanging out of their beaks. Will be posting these on off over at my Tidbits Blog especially. Hopefully I can return in a couple of weeks when there will be a lot of baby chicks.
The Snowy Egret and Roseate Spoonbill somehow both showed up in my image. I think I was trying to shoot the spoonbill, but the egret was also flying and I did not even see him until I looked at the photos in Lightroom. There were so many birds flying around that it was sometimes hard to capture them as they flew really close over your head at times. For me I keep my camera on Aperture mode at F/8 and shoot in continuous mode to capture as many shots as I can and hope one of the images will be sharp. Learned a lot about shooting birds from an old KelbyOn (NAPP at that time) video by Moose Peterson on taking images of Florida Birds. He is one of the best bird photographers around and has a great blog with lots of tips.
All the blog images were post-processed in Photoshop just using the same basic workflow I always use: First make sure no noise is in the image and fix that with Topaz (for website link see my Tidbits Blog sidebar) DeNoise 6, then Lucis Pro 6.0.9 (no longer available at the point) or Topaz Clarity (sometimes Topaz Detail depending on the image) to slighting sharpen the whole image (use a layer mask if needed), use a Red Channel Luminance Curve Adjustment Layer, a Black & White Adjustment Layer set to Luminosity blend mode, and finally the free Google Nik Viveza 2 – this filter is a must. Viveza can really help even out the light and sharpen areas that need just a little boost. It can also add that subtle vignette needed in some images. If you have not tried it, do so – use control points to pinpoint the areas that need adjusting. Still my favorite all-time Photoshop filter! There are tutorials on all these different techniques so just search in my blog to find more info on any of them.
These little chicks were recently hatched to a Roseate Spoonbill and may be the first group to have arrived. They were so cute. At first it seemed there were only two in the nest, but the little guy on the left was in all the images. It is really easy to miss things until reviewing the shots at home. The light was a little harsh but they still looked pretty cute to me.
This Snowy Egret was trying to get away from the crowds but the light was so pretty on his plume that he was quite noticeable. The grace and poise of the Snowy Egret is quite striking, especially when compared to the beautiful, but really clumsy Roseate Spoonbill. The spoonbills all see to have a lot of personality. And Wood Storks just sort of stay up high and stare you down. If you spend a little time watching the interactions of the birds, it is really entertaining!
I frequently use images shot at the Rookery and here are some past photo links for additional Rookery views:
Birds of the Rookery
Great Egret Babies
Cattle Egret Looking for Love
Singing Spoonbill Duet Takes Rookery by Storm!
Very Busy Snowy Egrets
Coming in for a Landing!
A Happy Couple
I guess this post is a little different for one of my blogs, but it was so much fun to see these beautiful birds and wanted to share what an extraordinary place this is. If you are in Florida from April to the end of May, definitely stop by the Rookery in St. Augustine – the birds won’t mind and its always a day to remember! Oh yes, taking a week or two off blogging to finish up a couple classes I am taking. Will catch you on the other side. ….. Digital Lady Syd
This week I am presenting a little tutorial on how to add an interesting an painterly or artistic effect to your images. This technique goes hand-in-hand with the use of other creative filters, but is a great way to add a personal touch to those canned filters results. The image above is from Stirling Castle (completion date cc 1542) where the face of the palace is lined with statues. This statue is thought to be King James V of Scotland in yeoman attire as he wandered incognito among his subjects and calling himself the Gudeman of Ballengeich (tenant farmer of Ballengeich, a place near Stirling).
This technique comes from a really nice tutorial by Sebastian Michaels who is a total genius when it comes to using Photoshop. Several years ago he created a video called Custom Brush Technique at Light Stalking where he discussed several different ways of creating brushes. He made a grunge brush that he used to paint in an effect similar to the above. I took a little liberty here and downloaded similar brushes to create some of my effects.
What is shown here is how to add a white layer with a layer mask – by painting with black in the layer mask with unique and textured brushes, a very artistic result can be achieved. The steps are as follows:
- Adjust photo and on a duplicate layer (CTRL+J), add in any special effects such as filters.
- To add even more variety to the image, copy the duplicated layer from Step 1 and add adjustments layers, filters such as Topaz (for website link, see my Tidbits Blog sidebar) Impression or ReStyle, or go to Image ->Adjustment->Hue/Saturation (not an Adjustment Layer) set to colorize to change the overall color of the image. My image was turned into a bluish colorized look on the original filter layer, but could have been done on another duplicated copy.
- Add a New Layer on top and fill it with white (can go into Edit->Fill and Content: White (SHIFT+F5), or just change the color swatches to default Black/White (D) and press CTRL+BACKSPACE to fill with white (FYI: ALT+BACKSPACE fills with black).
- Add a Layer Mask to this layer (2nd icon from left at bottom of Layers Panel).
- Using several different brushes in the layer mask, build up the effect. Set the brushes to 20-30% only and change the rotation of the brush with each tap down. It is easiest to do if the Brush Panel is opened and set to the Brush Tip Shape section. Flip the little circle around to set the stroke so edges appear different when painted in the mask. Also, can right click in the Options Bar the Brush Preset Picker (2nd icon) to change the rotation and size quickly. Start by adding a bit of vignette feel on the edges. If you want the brush to rotate randomly with each stroke, can ago into the Shape Dynamics section and set the Angle Jitter to some amount – I use 19% on many of my brushes. Look at the Preview field to see what the effect will be when changes are made in the Brush Panel.
- If the layer was duplicated and more than one filter or effect was created (as in Step 2), also add a layer mask to all these layers and paint out parts so the original color of the image shows through. This gives a nice split tone look.
To get an interesting effect, try grunge brushes, splatter brushes for the edges, and soft round or smaller sized textured brushes to paint back any important details. Different sizes, rotations and opacities of brushes really vary the effect. And remember the Properties Panel can be used to adjust the layer mask opacity if the final result is too strong. The actual layer blend mode and opacity can be adjusted also. Lots of flexibility can be found here.
The above followed Sebastion’s steps from his video pretty closely including using Photoshop’s Filter Gallery to create a watercolor effect (Watercolor filter – Brush Detail 9, Shadow Intensity 1, Texure 2; and Crosshatch filter – Stroke Length 9, Sharpness 6, Strength 1). This was added to the layer first before the Hue/Saturation Colorize effect was applied. Then the White Layer was placed on top. Three different types of brushes were used on both layer masks: a grunge brush (Shadowhouse Creations’ Grunge Brush Set 2-G4 brush), a grunge brush made using a texture somewhat like Sebastian’s, and Grut FX IL Ratatatsplat brush (from his wonderful Inky Leaks Splatter set) was used for the edge effect. Finished up with Nik Viveza 2 to just pull the eye into the statue area and lightly lighten the face.
This blueberry image used the same workflow. It does not seem as if adding a white layer on top would make much of a difference here, but it actually did. It lightened the image overall before bringing in the color from the layers below and can add some beautiful texture with the right brushes. For this image, Topaz Impression was opened and one of my presets was applied called SJ WC like effect on bldgs (see end of blog for settings). On a duplicate layer, an Image->Adjustments>Hue/Sat-Colorize was set to Hue 46/Sat 27/Lightness +2 – a gold sepia tone. The color did not look right so a Hue/Sat Adjustment Layer was clipped to the layer (ALT+click between the layers) and changed to a more pink color. This layer was set to 33% layer opacity. Brushes used in white top layer mask and the Impression and Colorized layer masks were: SJ 1 Color-Paint Fur-AD Sketch Splatter (see end of blog on how to create this brush-one of my favorites as it adds just a touch of texture to the stroke at a small size and nice splatter brush at larger size) at 25% br opa and 502 px and rotated around edges; Shadowhouse Grunge GB-4 again at 1200 px and rotated around center; and ABlaise-Canvas Texture Br 46 32-350px (this brush added some nice texture into the image). The brush sizes and rotation were varied in each mask. Topaz ReStyle’s Zambezi Zest preset was used to get the French vineyard colors in the image. (Settings: ReStyle Opacity 62% and Soft Light blend mode; Color Style Primary 0.58; and Lum Primary 0.47; Texture Strength 1.00; Basic Temp 0.22, Tint 0.34, and Sat 0.08; Tone Black Level -0.14, Midtones 0.03, and White Level -0.39; and Detail Structure -1.00 and Sharpness 0.63; and Masking – with Strength set to 0.36, painted out the green leaf at bottom and the berries to give more detail in just those areas.) Finished up with the standard Red Channel Luminosity Curves Adjustment Layer, Black and White Adjustment Layer set to Luminosity blend mode, and Nik Viveza 2 to bring out the focal points.
Here is another example of how this technique could be used. This is an image of Urquhart Castle in Scotland on a very rainy day. Topaz ReStyle was applied using the exact same preset and settings from the blueberry image. Then a white layer was added on top with a mask. The Castle image was painted back in using the same brushes as above or the newly created Grunge Brush, the SJ 1 Color-Paint fur-AD Sketch Splatter brush (settings below) and once again Aaron Blaise’s Texture brush – his textured brushes really help with this effect when used in a layer mask. The layer was set to 35% layer opacity. On the ReStyle layer, a layer mask was added and parts of the trees and castle were painted out so the original image color showed through. At the top a New Layer was added and filled with a light gold-yellow color. A layer mask was added and once again the image was painted back using the same Grut-FX IL Ratatatsplat for the edges and my SJ 1 Color-Paint Fur brush at a small size for the detail areas. This layer was set to Linear Dodge (Add). To get the final effect, the Layer Style was opened by double clicking on the layer. In the Blend If sliders, the Underlying Layer black tab was split (by holding ALT and pulling the tab apart) and setting it to 10/70. This does not always work, but it definitely worth trying out to see what happens. In this case it brought out the structure more clearly. Nik Viveza 2 was used to pinpoint the focal point which is where the red umbrella is located. Anyway, just note that you are not limited to a white color top layer or using just one color layer. With a little experimenting, a very nice image can be produced. I believe I will use the above image on note cards.
Hope this gives you another little trick to try in your artistic endeavors and maybe it will give your images that extra level of interest it needs. And try out my brush – I am finding it is very useful in lot of different types of images. Have a good week!…..Digital Lady Syd
Topaz Impression’s SJ WC like effect on bldgs Settings: Thought I would share the preset settings as it really does give some interesting results sometimes with a little masking when looking for creative effects. The preset was made in Topaz Impression 1: Started with Watercolor II preset and these were the final settings: Stroke Type 04, Brush Size 0.91, Paint Volume 0.42, Paint Opacity 0.87, Stroke Width 0.33, Stroke Length 0.89, Spill 0.23, Smudge 26, Coverage 1.00, Color Overall Hue 0.15, Saturation -0.20 and Lightness 0.06; Red Sat 0.47 and 0.14; Orange Sat 0.60 and Lightness -0.42; Yellow Sat -0.33 and Lightness 0.13; Green Sat 0.20 and Lightness -0.32; and Blue Sat 0.36; Lighting Brightness -0.04, Contrast 0.39, Vignette 0, and Light Direction X0.33 and Y0.06; and Texture Strength 0.78, Size 0.30, Canvas IV, Background Type solid white, and Background color used #d38967 – all other settings not listed at 0. Adjust your color swatches to get other color tones. These changes were made to the preset in Topaz Impression 2 for the blueberry image: Number of Strokes High; Color Aqua Sat 0.25 and Lightness 0.51; Lighting Highlight 0.40, Shadow -0.39; and Texture Strength 0.
SJ 1 Color-Paint Fur-AD Sketch Splatter brush has become a favorite brush for all kinds of things. With these brush settings, it is great to paint animal skin but it works great wherever a little soft edge with subtle texture is needed. It is my go-to clean up brush when color needs to be added to fill in some rough spots. Here are the settings: First download these free brushes from Alex Dukal – Adobe Sketch Brushes and select AD Sketch Splatter – 143 px brush. This brush had the brush tip I liked but most of the brush settings were changed. Here are the Brush Panel settings as I use the brush: Brush Tip Shape – Size 9 px, Angle 13 degrees, Roundness 100% and spacing 120%; Shape Dynamics – only the Control field was set to Pen Pressure (for tablet use); Scattering – check Both Axes, Scatter 149%, Count 9, and Count Jitter 54%; Transfer – only the Opacity Control field was set to Pen Pressure, and Smoothing checked. Be sure to create a Brush Preset and a Brush Tool Preset (1st icon on the Options Bar – open the drop down and click the Create New Preset icon – this saves the Options Bar settings). Adjust and paint with different sizes. Can add Texture and Color Dynamics for different look. Also Dual Brush can be interesting. I use this brush sometimes as small as 4 px to clean parts of an image by sampling adjacent colors. Try out the original brush provided as it is a really nice splatter brush.
This week I thought I would share a Vignette tip that Matt Kloskowski (one of original Photoshop Guys and one of my favorite gurus) presented in his Bonus #1 Video called The Do’s and Don’ts of Lightroom/Photoshop Workflow (BTW it is a downloadable mp4 file). This is a good overall video, but his section on creating a subtle vignette was brilliant tip. I find I am now using this all the time and it is a really easy workflow. The image above was taken from Stirling Castle in Scotland and was an incredible panoramic view of the local area. It is a good example of how subtle the effect is. This vignette should be applied at the end of own workflow after all the changes to the image have been done.
Content Aware Move and Abstract Painterly Effect
First I will share a quick tip discovered before applying the vignette The above original image took a tremendous amount of clean up as there were trucks, garbage cans, and road cones all over the place. Instead of trying to clone and spot heal over some of the larger objects (like a large truck in this image), the Content Aware Move Tool (in group with the Spot Healing Brush) was used to select and move the truck down into the trees (make sure Mode field says Move). Since the Transform on Drop was checked, the truck was reduced to a really tiny spot in the corner and could easily be removed with the Spot Healing Brush or Backspace to remove it. Of course some clean up had to be done on the original truck spot, but it was much less work to do. I found this worked better than using the Content Aware Fill command so give it a try if other methods are not working well. For a good explanation on these tools, see the Patch and Content Aware Fill Tools, see the short video Content Aware Patch and Move by Adobe’s Julieanne Kost, another great PS guru. By letting PS to do the initial work, it takes a lot less time. To get the soft painterly effect, Topaz (for website link, see sidebar at my Tidbits Blog) Detail 3 was used – all the Detail sliders were set to -1.00 and the Boost were set to 0 – then adjusted the Tone and Color section sliders to get this rather abstract feel. Back in Photoshop a layer mask was added to paint back in some detail.
The last step was to create the Vignette:
- Select the Elliptical Marquee Tool and drag out to surround the focal point of your image. Hold down ALT key and Spacebar to move selection around the image to position.
- In Options Bar click on the Select and Mask button and go the Feathering slider. Depending on your photo resolution, set the feathering to blend nicely into the background. For the above a 120 px feather was used since my photo did not have that many pixels in it. For larger formats 300 px may be necessary.
- At this point click Invert button at the bottom of the panel and set Output to: Selection.
- Put selection on its own layer by pressing CTRL+J.
- Change the blend mode to Multiply and adjust the layer opacity (18% in the above image).
Matt explained that it looks good because the vignette is made from the photo itself rather than adding a black overlay on top of the image.
This image was taken at the Harry P Leu Gardens in Orlando, Florida. Had to zoom in close to get a good look at the little “Acrobat” in the flower. The pretty golden colors was achieved using one of my favorite Lightroom presets I call TChurchwell Aging Photo (to create, view short video called Aging a Photo before Painting) and adjusting the Radial Filter to fit on the bee. In Photoshop a light beige texture by Kim Klassen (a lot of her textures are no long available – most have a soft grainy look and a few are still for sale) was added and set to Linear Light at 34% layer opacity. New layers were created for clean up, a painting to cover up distracting background objects, and the Sharpen Tool on just the bee and foreground flower. Then a stamped layer (CTRL+ALT+SHIFT+E) was created and the Vignette workflow was followed. The vignette was set to 34% layer opacity to get this final effect. I really liked the soft feel in the whole image.
Below are what just the two vignette layer’s feathering looks like after the Multiply blend mode was applied but before the layer opacity was adjusted. (Note the white ovals are actually transparent in the PSD file so the image below shows through.) It can be as subtle as you want. The left vignette was set to 18% and the darker right image was set to 34% layer opacity as the final step.
Hope you get a chance to try out this vignette effect – I think you will really like it. Matt K usually is right on with this tutorials. Have a good weekend!…..Digital Lady Syd
I was catching up on some videos from last year and ran across one that turned out to be really interesting. It is called How to Turn Your Zoo Photography into Fine Art with Lightroom by Serge Ramelli. Since I like to photograph animals at the various zoo and theme parks around here, I gave it a go and thought I would share his rather simple workflow. Be sure to check out the link as Serge offers 5 Develop presets and 2 Adjustment Brush presets to use on your images (and he also has some other very good videos on Photoshop at his site).
The image above is of a Sumatran Tiger from the Jacksonville Zoo – this is one of the tigers they use for demonstrating his breed – very nice cat. Once you have downloaded the presets and placed them in Lightroom (his video goes through this at the end), I always create a Virtual Copy to work with so the original can be used again if needed.
- Try looking at all his presets and choose one that looks good. The above image used his Zoo Base I preset. All the settings are set up so only a tweak here or there might be needed. The Develop Basic and Detail sections are where the adjustments are made. You can always go back to these after finishing the steps and adjust them more if the effect is not quite right.
- Now is a good time to Crop the image before you set up the Gradient Filters, but it can be done later.
- Select the Gradient Filter and add a New dot on on the right side of the image. Set the Effect drop-down field to Exposure or try out the Zoo Darken Brush. Now move the Exposure slider to select the correct amount of vignette, he softened the Clarity a little as it smooths the dark areas, and finally the Noise is set to +100. Just drag out the gradient towards the subject. Do this for the other three edges.
- Select the Adjustment Brush and in Effect drop-down, choose Zoo Darken Brush and paint in on parts that need to be darkened a little on main animal or subject. Switch to Zoo Brighten Brush in Effects drop-down and paint over areas that need to be lightened – basically doing dodging and burning here. Can adjust any of the other sliders to get the correct look and can add new points to get a great finished look. Try adding one for just the eyes by zooming in.
- Go back and tweak any of the settings since this is the beauty of Lightroom!
This is when I take my images into Photoshop and add some more filter effects. The tiger image used the Nik Color Efex Pro 4 plug-in applied to it in specific places using Darken/Lighten Center, Detail Extractor (control point on face only), Glamour Glow and Pastel (set to 46% opacity) filters. That was all that was done. Not sure mine exactly fine art but it does give a very pleasing look and the background has definitely been toned down a lot. Serge used more vignetting in his images so check out the video link for those settings.
This guy was definitely watching everyone in the area – I think he is in charge of this part of the Jacksonville Zoo. Used the same preset as above – the Zoo Base I is my favorite. Added the gradient filters and adjustment brush strokes and took the image into Photoshop. At this point the image had a lot more background color and was not cropped to the final size. In Photoshop Nik Viveza 2 was used to do a little more sharpening and brightening in the right places. A black and white Adjustment Layer was added and set to 37% layer opacity to slightly remove the color. Then the final crop was done. The desaturated look seems to suit this guy.
This Giant Tortoise resides at the St. Augustine Alligator Farm and is hard to miss! I think he is eating twigs. This time the Zoo Sepia preset was used as a starting point in Lightroom and more of the Basic sliders were adjusted to get a global effect that looked good. Then the Gradient Filters were added and the Adjustment Brush was used to brighten up his face. In Photoshop Topaz (for website link see my Tidbits Blog sidebar) Detail 3 Highlights was opened and the Highlight Detail 1 preset was selected. A black layer mask was added back in PS and just the focal areas were painted back in. On a Stamped layer on top (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 was opened up and a new preset was created. Used a rusty edged grayish texture, some edge blur for the background but not the turtle, a light leak that had some turquoise for the shell, and a few Basic Adjustment settings were applied. In the masking section, painted back the face a little. This layer was set to 67% layer opacity. On another stamped layer, used Nik Viveza 2 just on the face to lighten it up a little more. Last step involved adding a Levels Adjustment Layer to slightly flatten out the dark edges – painted back the face so it was not affected.
These presets are very nice. It is an easy way to really set off the animals and remove some of the distractions that are usually inside the cages. I am still experimenting with this technique, but it appears to have some good possibilities. I would encourage you to at least try out the presets and see what you thing. Serge has several other videos and presets available so check out those also. Hope everyone is enjoying this early Spring!…..Digital Lady Syd