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
This week I am taking a break from the technical aspect of Photoshop and am presenting a couple images which is what I consider was a lot of fun create in Photoshop. Usually when I do creative art, I start out going in one direction and end up in another. Many times there are several iterations of an image I really like, which happened in this first image – it looks pretty good in blue tones and warm tones.
The image above is from Palace of Holyroodhouse in Edinburgh, Scotland. I love to photograph the interesting details in the historical architecture that is so prevalent in Europe. The workflow for this image was actually pretty simple. Just using my basic workflow and through in a bit of Nik Viveza 2, Topaz ReStyle and several Adjustment Layers. This was definitely created with a lot of experimentation.
The image below went a totally different direction where the elements were added onto a blank layer.
This Heron had this crazy idea of what he would like to be his playground. I just had to follow his lead and created this rather “groovy” looking image. Started with this really beautiful background from Unsplash by Steve Johnson that had all the bright colors in it.Then just used several elements – some I created and a few are from other people. The really weird line art in this image is from a large Cruise Ship at night taken from a small sailboat – got sort of a creepy result that looks kind of good here but was very scary when you actually are there! My bird chose it anyway. All the elements were added to New Layers also. The sunflower is from PixelSquid. The bee is one I painted. The Tree is also from PixelSquid and the Heron is my pet, the little guy from Graphics Fairy – painted him up a bit with one of my favorite Grut charcoal brushes, Shin Ding which adds great texture on anything, to give him some matching color. The Grass is from Frostbo Set 1 Grass 03 brush. I actually added a little touch of Impasto effect on the orange block on the left using a blank layer set to 0 Fill opacity and painting with the Grut Shin Ding brush to add the texture on it. Last step I added the border using the one I created in my video and blog on my How to Create a Quick Layer Style Border or Frame.
One thing I have learned is not to throw out those really weird images you get – sometimes they can turn into something quite interesting! Hope you enjoyed it! Have a great week!…..Digital Lady Syd
I find Topaz (for website link, see sidebar at my Tidbits Blog) Labs and/or Topaz Studio is totally in a “league of its own” when it comes to helping digital artists take their images to a new level. Even though I have blogged about Topaz plugins and most recently Studio’s AI Remix adjustment (see What is Topaz AI Remix????), this week I am presenting a short blog and video on how I created this image using some of the Topaz Studio’s and Lab’s plugins.
The products that really are outstanding to me for creativity are: Topaz Studio AI ReMix adjustment, Topaz Studio (and previously Labs) Impression, Topaz Labs ReStyle, and, believe it or not, this wonderful little program no longer marketed called photoFXlab which uses an InstaTone program section (the 500 px and 1X.com do not work, but the other three do so it works just fine) (See my short InstaTone in photoFXlabs – Great Fun and Great Results! blog). This is not to say that many of their other plugins, like Topaz Adjust, Black & White Effects, Glow, and Texture Effects are not useful for the creative – they are great but maybe not as unique as the ones I mentioned.
AI ReMix adjustment fits right into what I like about Topaz products. It has a bit of a steep learning curve to figure out what works and what does not when trying to get that creative uncanned look. That is why I decided to do this quick blog and video. The original image was beautiful and is from a group of photos at Deeezy called 20 Free Photos from Seychelles – I like to practice with some of these free images. I did not realize I would like the results but since it has an interesting artistic appearance applied, it does not matter that I did not use my own equipment for the image. Wish I had been there to do so. If you do not see the You Tube link in your browser, please open the video from within the blog.
Steps for Post-Processing the Top Image
Once opened in Photoshop, the image was duplicated and taken into Topaz Studio where two adjustments were used: the Impression Adjustment (used Default settings but set it to Stroke Type 09) and AI ReMix (used my SJ Soft Painterly Effect in Preset dropdown and adjustment 0.27 opacity – the SJ Soft Painterly Effect has these settings: Opacity 0.27, Style Strength Low, Col 7/Row 3 swatch, Brightness 0.53, Contrast 1.17, Saturation 0.98, Hue 0.04, Smooth Edge 1.00 and Sharpness 0.50). Back in Photoshop, many tweaks were made since the adjustments had added a great creative starting point. I will not go through all the steps – they were quickly reviewed in the video – but it did take a bit of work to get the image to a place that worked for me. Nik Viveza 2 was used to help direct focus and there was a spotlight effect layer. John Derry’s Impasto Varnish Smooth layer style (no longer available-Kyle Webster had some also but I cannot find them either – try searching for Photoshop Impasto layer styles. Basically what is going is that a Bevel and Emboss layer style is added and the Layer Fill slider is set to 0 – preferably use a brush with some interesting edges to paint add the painterly effect on the layer). Used my SJ Pastel 3 favorite brush to paint over a few waves and rock edges to add some additional definition. Then a texture called Solstice Elan2 from French Kiss (for website link, see sidebar at my Tidbits Blog) was added – the same layer style was used on the texture set to 22% layer opacity to soften the whole foreground effect. Then added a frame I created in Corel Painter was added for a final more painterly touch.
Steps for Post-Processing this Image
Same steps were as above with the same Topaz Studio Impression and AI ReMix adjustment settings and clean up layers. To get this different effect, a stamped layer (CTRL+ALT+SHIFT+E) was taken into Topaz ReStyle and I used my SJ Tulips preset with changes to some of the sliders. This preset was created from a tulip image previously processed in ReStyle (see my How to Use a Topaz ReStyle Trick for Improving Your Image blog). You can actually get a very similar effect as the ReStyle filter gives when photoFXlab Instatone is opened and applied. Nik Viveza 2 was also used and Curves Dodge and Burn adjustment layers were also used. A little clean up and spotlight effect was applied but no impasto layer styles.
One thing noticed was that by applying so much post-processing to an image that was not as high a quality as a RAW file, some artifacting became apparent. On the cooler image below, I rather meticulously painted away the artifacting in the foreground mountain and rock formations mainly using a very tiny (3-9 pixel) brush at 50% strength – this took several hours and could probably use more. On the top image, I got smarter. It occurred to me to just use the Spot Healing Brush set to: Content Aware, Multiply, and Sample All layers using a small brush around 7 pixels. Just smeared long strokes over the areas – only the white artifacting was healed (colored in), but the color in the darker areas was left alone. It took about 10 minutes instead of several hours. Wish I had thought of it earlier before hand painting and healing the first image.
Anyway, I thought it might be fun for you to see how these creative plug-ins can be used together. Below are a couple recent blogs you might have missed on my Tidbits Blog showing some other image examples. Hope everyone is enjoying the Spring – looks like the weather is starting to improve finally!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Enjoying the Attention (Studio AI ReMix Adjustment)
Stand Tall (Studio AI ReMix Adjustment and Impression Adjustment)
Dodging the Fire (Studio AI ReMix Adjustment)
A Scottish Countryside Town (Studio AI ReMix Adjustment)
Four Picture Triptych with Topaz ReStyle (Topaz Labs ReStyle)
Heathcliff in Toon Lagoon (photoFXLab InstaTone)
I have never really discussed sharpening so this week I am going to just cover the surface of this topic. It is such a huge subject and there are so many ways to sharpen that it is almost impossible to figure out which is best. Lots of questions here on when to apply the sharpening filter that I am not covering. Basically this blog is a quick comparison of techniques to see what is happening when sharpening is applied using different plugins – in both PS and from other software products.
What is sharpening?
Bottom line: Adding edge contrast to make an image look sharper. So when you go through the various plugins, watch for what the various sliders are doing. For more technical info, check out the Resources paragraph.
Now we can understand a little more what is going on when sharpening an image and figure out what is really affecting the sharpness in an image. Different methods were tried to see if one really stood out or does it actually matter. And are they all just doing sharpening or are they added other changes to make the image look better, and possibly affecting the overall tone of the image. A Hue/Saturation Adjustment Layer or Levels Adjustment Layer may need to be added on top. One big issue I found is that some generate a large amount of noise. Therefore a Noise Reduction filter might be needed. A black layer mask to localize the sharpening could be used to contain the noise by painting back just where the sharpening is needed. Also Blend If sliders in the Layer Style could be used – apparently it does not matter which slider is used for sharpening since just adjusting the impact on the far highlights or shadows in the image. Also, look at the Radius settings in the filters – that is where the halo issued develop many times.
These plugins and filters were explored and just the results for each are shown in the short video (see link below): Topaz Studio and Labs Detail or Clarity adjustments, On1 Photo RAW 2018 Precision Contrast and Sharpening filters, Google Nik’s Color Efex Pro’s Detail Extractor filter, Lucis Pro’s 6.0.9 filter with a layer mask, Luminar 2018’s Details Enhancer and Structure filters, and even Aurora 2018 HDR software. Photoshop’s own methods were also tried including: the Unsharp Mask Filter, Shake Reduction Filter, High Pass filter, the Sharpen Tool, the Camera Raw Filter, the Hard Mix blend mode, and Smart Sharpen Filter. It has also been demonstrated even HDR software can do wonders to sharpen an image so I added an example using Aurora 2018. No wonder there is so much confusion about which is the best to use. So many of these examples sharpen very nicely. Just want for the color or noise changes. For links to all the software, check out my Tidbits Blog sidebar). If the video link is not appearing in the RSS feed or phone, click on the blog to access.
My favorite techniques as noted in the video were:
- Topaz Studio or Labs Precision Detail – have used it for years and it never lets me down but did not like Studio’s Unsharp Mask. (Settings: Shadows Small Detail 0.58, Medium Detail 0.65 and Large Details 0.51; Highlights Small Detail 0.35, Medium 0.37, and Large Detail 0.32; Lighting Midtones -0.12, Shadows 0.36, and Highlights -0.50. In layer mask painted effect into the flowers only.)
- On1 Photo Raw 2018 Sharpening Filter – I have noted this before and it is still gives excellent results. (Settings: Type High Pass, Halo 84, Amount 68, Protect Shadows 11 and Protect Highlights 11.) I did not like their Dynamic Contrast for this, but it is still a really good filter.
- Photoshop Unsharp Mask using LAB Mode twice. (Settings: Amount 100, Radius 3.0, and Threshold 4.) Downside is that I had to create a duplicate document to go into LAB mode to apply and then bring the layer back into PS. (This technique was first seen in Scott Kelby’s The Digital Photography Book. (Go to Image -> Mode -> Lab color; Highlight the Lightness Channel in Channel’s panel, Apply Unsharp Mask Amount 100, Radius 3, and Threshold 4; Apply Unsharp Mask filter again; and go back to Image -> Mode -> RGB.)
- Photoshop Smart Sharpen filter. I have never used this much, but Blake Rudis discussed it in his Photoshop CC Boot Camp on Creative Live recently and it really looks good. (Settings: Amount 417%, Radius 2.7, Reduce Noise 40%, Remove Gaussian Blur, Shadows Fade Amount 12, Tonal Width 50%, Radius 21, and Highlights set to Fade Amount 0.)
The High Pass Filter effects in the past have proved to be quite nice, but not so good on this image. I will still use the Sharpening in Lightroom – it does work well at the very beginning of the workflow when just a little sharpening is needed. I will probably use the Smart Sharpen Filter in Photoshop when I need a hammer! And a lot of people use Topaz Detail to do a final sharpening for printing. Many of the other choices would do fine for sharpening and with a different kind of image, they might look a lot better than what the floral results were. And remember if you are working in a plugin using various adjustments or filters, using the compatible sharpening filters will probably work just fine – they were developed to work with their own products. This blog just presented some examples of some of the things that can be done to sharpen an image. There are so many combinations that I could have done many more techniques. Check out the resources below for other ideas on how to do this well.
Continue reading for a good technical explanation of this and some good resources to learn about this subject. Harry Guiness gives an excellent explanation as to what sharpening is and what has to be done. To take a quote from his blog at EnvatoTuts+ in What is Image Sharpening: “Sharpness is a combination of two factors: resolution and acutance. Resolution is straightforward and not subjective. It’s just the size, in pixels, of the image file. All other factors equal, the higher the resolution of the image—the more pixels it has—the sharper it can be. Acutance is a little more complicated. It’s a subjective measure of the contrast at an edge. There’s no unit for acutance—you either think an edge has contrast or think it doesn’t. Edges that have more contrast appear to have a more defined edge to the human visual system. …..Sharpness comes down to how defined the details in an image are—especially the small details. For example, if a subject’s eyelashes are an indistinct black blur they won’t appear sharp. If, on the other hand, you can pick out each one then most people will consider the image sharp……the only way to increase apparent sharpness is by increasing acutance. If you want your image to look sharper, you need to add edge contrast.” This was a great article and part of 3 so check out his The 7 Hidden Dangers of Image Sharpening blog and his Selective Sharpening Using High Pass in Adobe Photoshop blog – all excellent information. I have an older book that is still really relevant called Image Sharpening by Bruce Fraser and Jeff Schewe that is considered one of the best on the subject ever written. So if you want some really good info on this, check out this book. I wanted to figure out which of the various plug-ins and filters work the best for this. Also Martin Evenings Photoshop books all cover this topic very thoroughly.
This blog turned into quite a project but I learned a lot about sharpening. If you have time, try out some of the filters I used above, especially the Photoshop filters to see what results you are getting. I did all my changes on a flower image, but a landscape image would be nice to try with the same set of filters to see what happens. Hope everyone has a great week – Spring is finally here!…..Digital Lady Syd
Thought about taking a few weeks break so I can try out some things I am learning, but I am still here – I keep wanting to pass on info. I created this image just for fun and trying to reinforce a few work habits when creating this type of composite. Also thought I would add on a few more tips I promised when creating my Giraffe composite a few weeks ago. (See my Taking a Break to Learn Some New Things blog.)
FONT TIP: This image started when I downloaded a couple new free fonts from Design Cuts called Style-Casual and Style Endings by TypeSETit. At first I was not too taken by either one of the fonts, and then I realized that by using the Style Endings font for the first and last letters of the text, and then using Style Casual font to connect the rest of the text, it looked really good – along with the pretty nice fancy small “o.” A Simply Wonderful text line was created and then turned into a brush by going to Edit -> Define Brush Preset. This is really fun to do if you have some nice fonts on your computer – they can easily be turned into text brushes and .PNG files. Very could be very useful for graphic projects.
ADDING A SUBSTRATE LAYER TIP: My substrate layer was non-existent almost until the end of working on this project when I finally put the white one created in the Azaleus image (see my How to Create a Pretty Simple Background and Text Effect blog) the text added. It definitely filled in some texture that was missing especially in the lighter areas of the image. So that is one thing I learned while creating this image – be sure to add some kind of bottom level texture just to fill in the holes. It can always be swapped out later after adding your elements.
PAINT ON THE ADDED ELEMENTS TIP: Another thing I did was to actually paint on some of the elements that were put in the image. The two butterflies on the left side were from a really nice brush set by Marrielle P Kokosidou – by painting in the elements after stamping down the original element, some additional interest could be achieved. The same was true with the branch of leaves at the top (from a painted set from Design Cuts in their Nature Plant Graphics Watercolour Grit Textures set with Octopus Artis elements), additional painting was done using some other colors on it. Design Cuts is a great place to get free samples of very good elements from great artists for these type of photos. The brush I used was mainly the SJ Pastel 3-painting brush (see my How to Create my Favorite Brush blog) – use it every day along with my SJ 3 Pastel-Van Gogh TI brush. (It can be created by following my Painting Fun in Photoshop blog’s third paragraph – gives an explanation on how to make the base brush more painterly.) The other butterfly was also one from Design Cuts called Watercolour Butterfly by Octopus Artis – not much was done to the butterfly itself, but a watercolor paint stroke (stroke by Vintage Design Co. but could not find the download link) and a moon brush stroked (from 20 moon brushes by Liza Giannouri-moon 3) was placed behind it. Wanted to give credit to the people who did the flowers in this image – the pink center flower is from a frame in a set by from Creative Market (another site to follow – they have some great free sets like this one and good deals like the Hydrangea set) Ginko Textured Watercolor Graphic by Paperly Studio; and the Hydrangea flower is from Beautiful Watercolor Butterflies Knopazyzy Handrangea Flower set.
CREATE MORE PAINTBRUSHES TIP: Created a paintbrush (named it SJ Butterfly Brush 5 Row-Marrielle P Kokosidou) at a very small size and setting it to a small size with Spacing at 180%, Shape Dynamics Size Jitter 24% and Angle Jitter 21%, and a Color Dynamics set to 100% Foreground/Background Jitter and Purity -24%. It was used at the top of the image using a slight color variation and at the bottom of the image in just one color. I have brushes using hearts and bubbles using similar settings. So the tip is: make a small object type of brush to add some interest around major elements instead of just using round splotches (which does work in some cases).
BRUSH IN SOME COLOR BEHIND YOUR ELEMENTS TIP: This is something I have been doing for a while, especially using the spotlight effect with white and black color at a low opacity and the layer set to Overlay blend mode. (See my How to Add a Spot of Light blog.) It also works for any color using any type of brush – it will add some soft color into your image. The layer does not have to be set to Overlay blend mode – some very interesting effects can be achieved using other blend modes like Linear Burn – and be sure to adjust the Fill (not Layer) opacity to get some really nice effects. NOTE ON FILL SLIDER IN LAYER PANEL: The Layer Opacity will affect certain blend modes differently than the Fill slider – Color Burn, Linear Burn, Color Dodge, Linear Dodge (Add), Vivid Light, Linear Light, Hard Mix, and Difference. Check out which effect you want. Also the Fill opacity does not affect the opacity of layer effects such as drop shadows – this can be important if you have added a layer style like a stroke or bevel effect on a element. A reddish effect was added to the upper left corner. And obviously green in the upper right. The corners were subtlety darkened down using this technique to draw the eye in. Some texture was actually painted on the font lettering to add some interest by using a texture brush and setting the layer to Overlay blend mode – it really brightens up parts of the font.
A couple last things were done in this image. Topaz (for website link, see sidebar at my Tidbits Blog) Studio was opened and a black and white sketch effect was applied. It is called SJ Graphic Sketch 1 preset (contains these adjustments: Basic, Precision Contrast, Tone Curves, Smudge and Abstraction) and is up in the community if you would like to try it out. And for me the best way to pull this whole image together is to use the (Google) Nik Viveza 2 – I could not have done this without using this filter. It adjusted out the focus since so much is going on in the image and the colors by adjusting the brightness of each element and sharpness. Need to try it out and since it is still free right now and still works just fine, definitely worth using.
The final image had 43 layers and lots of tweaking but I like the final result. It is important to find a subject you want to work on – this suited me just fine since Spring is almost here! Hope this answered everyone’s scrapbook effect questions – I have learned a lot and it just takes practice to get some nice designed. Also be sure to check out my Tidbits Blog – I added a nice sharpening tip last week. Have a wonderful week!…..Digital Lady Syd
Short break here as Topaz released a new plugin. One thing you have to appreciate about Topaz (for website link, check out the sidebar at my Tidbits Blog) is that so many of their plugins are totally unique in the filter world. Topaz Studio’s AI (Artistic Intelligence – not artificial) ReMix Adjustment is one I did not see coming – totally different although it is sort of a blend of many of their filters. I am still trying to figure it out. At this point, there is not much info on it – they promise to supply more soon. So what is this plugin? Topaz says “AI ReMix harnesses the power of custom neural networks to create specialized artistic models based off of real art styles.” Basically they looked at hundreds of artistic images, chose some to train the Artistic Intelligence, and turned the results into what they call image styles. The filter appears to currently have 50 artistic styles from which to choose.
The top image of the wooden roadrunner wind chime was photographed outside a store on St. George Street (one of my previous images) in St. Augustine, Florida. It used the AI ReMix adjustment twice with different styles and blend modes, an HSL Color Tuning adjustment, and a Texture adjustment. Since the texture used was one of my own, I did not upload it to the Community. I was basically doing a little trial-and-error to figure out how to use the program. The bokeh background in the image before taking it into Studio was created by following a great tutorial called How to Create a Lens Dust Photoshop Action Effect by Marko Kozokar at Envato tuts+. The bokeh looks really good with this new adjustment. Below is the interface so you can see what the dialog looks like and some of the slider choices. (Click image for larger view in Flickr.)******
The Polar Bear and Penguin image below used a Studio preset on my original image (see below) that I created called SJ AI Cold Winter Effect and can be downloaded from the Community site. It contains three AI ReMix adjustments, a Color Theme adjustment and the Basic adjustment. The Penquin, Crow, and Baby Polar Bear are all from PixelSquid. To get the colors correct in this image, Topaz ReStyle was opened once back in PS and the Desaturated-Cool 1 preset was applied to get the cooler tones. Snow was brushed on by using Grut’s Inky Leaky brush set (these work great for this) and falling snow overlay provided by Shadowhouse Creations.
Below is the original image taken of a portion of the waterfall at the entrance to the Ormond Memorial Art Museum and Gardens that was brought into AI ReMix. One ReMix adjustment was used on just the leaves in the foreground using a layer mask, another on the background only, and the last on the whole image at a lower opacity.
I am not sure how they are really doing this, but it does give some interesting results. It does have a bit of a phone app feel to it, which I do not use often. They plan on releasing more image styles soon which should give a few more effects to use. To see what basically is happening in this adjustment, just be sure to update to Studio to 1.8.4 version and the adjustment will appear in your Adjustment list (icon will not be colored in). You do not have to get the trial to see what some of the results will look like. Click on the AI ReMix name and in the Preset drop-down field, click on one of the 5 choices included and also try changing the Opacity and blend mode for the adjustment – now you can see what it does to your image. Very unique results. To try out the adjustment for 30 days, click on the AI ReMix Adjustment and then click Try Pro at bottom of dialog panel – access to all the sliders will open up. Once activated there is a little indicator at the bottom of the adjustment panel that tells you how many days are left in your trial period.
This big bird uses the same AI ReMix adjustment style duplicated twice and set to different blend modes inside Studio (click the settings icon to left of the trash can to find the duplicate command). The bird is from a set of photos I purchased from Deal Jumbo in a set called Amazing Wild Animals 2 from images taken at South Africa, Namibia and Botswana. This guy sort of stood out to me. A Precision Contrast adjustment was first used in Studio where it was only applied to the bird by using a Studio layer mask. Then two identical AI Adjustments were stacked (located at Column 3/Row 4) – one set to Normal and one to Linear Dodge at 0.49 opacity. The bird was painted partially out using a 50% brush transparency. A Texture adjustment was also added and my Cat Painting Texture was applied. (The texture had been already loaded into the Texture Adjustment – if you would like to download it, here is the link at DeviantArt. It is just a close up of neutral color oil paint strokes from a beautiful cat image.) Back in PS, just used some of my regular workflow to improve color and contrast. Pretty simple.The task is to try and figure out what to do with the results so it does look artistic and not canned. And not all images work well with it. The other negative is that is makes my computer run pretty hard when several stacked adjustments. It looks better to me to stack a couple AI ReMix adjustments using different styles and settings. Topaz recommends trying out the Overlay blend mode for exaggerated saturation in the original image, Color blend mode to blend the photo and style colors together, and Luminosity blend mode for the highlights and shadows and makes the result less overdone in some cases. I am also finding that if I do not like the colors that the image becomes (even when starting with a black and white image it turns it into color), so a color converter needs to be used. My favorite is the Color Theme Adjustment where 5 individual colors can be changed. Also the HSL Color Tuning Adjustment will do some of this. Topaz has very nice mask tools that can remove parts in the image to give even greater control, especially by using a Mask Transparency brush setting around 0.50 and removing some of the effect from skin. I am looking forward to the update that is promised to come very soon.
It took me a while to actually get good results since it changes the original photo so much, but it is a lot of fun once you get the hang of it. Definitely worth clicking on the Adjustment and checking out the presets. I am sure this will become a very popular add-on once everyone learns how to use it correctly. I will be blogging on this more once the update is provided and try to do a quick video. Until then, I will just keep experimenting – it does seem to have some interesting possibilities! So glad Topaz is still coming up with new ideas for plugins – that is why they are right up there on my list of best filters!…..Digital Lady Syd
This week I am doing a quick comparison blog using the same image with several applications to check out their Camera Raw post-processing abilities. It was quite an interesting experiment to try and I found out a lot about my own post-processing techniques. So above is the image created fairly quickly where Lightroom was mainly used for the RAW post processing and then some tweaks in Photoshop. Below all images with no post-processing in Lightroom, but using the new RAW image capabilities in Luminar 2018, On1 Photos Raw 2018 and Topaz Studio (see links for all three software programs at my Tidbits Blog sidebar) and also Photoshop tweaks. This is a fun exercise to do when you are learning new programs. On the image above, this is the actual sky that was present – pretty overcast actually. For Lightroom settings and other info, check out Image 1 at end of blog.
Below is the Luminar 2018 iterations of this beautiful hidden house near St. Andrews in Scotland. It is very similar to the Lightroom image – but the sky did not come out at all in the program so a new one was placed into the image in Photoshop. The program recently added workspaces for the Windows version so the Professional one was chosen to do the RAW processing. They have several choices for fixing image distortions by going into the Transform tab which is really nice. I will say this image took me a long time to get it looking the way I wanted it. At this point I am not comfortable with the Masking Brushes and Gradients in this program. But they have a good start on getting their RAW editing going. Right now I am looking to Luminar more for the interesting effects it can produce.
This next image was totally post-processed as a RAW image in Topaz Studio using their Basic Adjustments filter. The more drawn effect was created by using their Radient filter which is very similar to the Topaz Glow plug-in and I kind of liked the effect on this image. The Impression filter also gives it more of an artistic look. For more info on settings, check out Image 3 at end of blog. I find their Basic Adjustment plugin is adequate and if the Basic Workflow preset is clicked, the Tone Curves filter opens up with it. It is a little more basic than the others, but works fine. Since I love so many of their plugins, it is hard for me to use this for overall editing – but they may be quite competitive once they get all their plugins working in the new interface.
Totally different feel and effect in the On1 image below and I really like it. This program has a lot to offer in the RAW editing area. I know they have been working on it for a long time and it is now very sophisticated. I am still learning the program but do not have many complaints in this area. This image does have that Glow effect On1 is known for which gives it a bit of an Orton look. This is not what the image looked like but it is what Scotland looks like to me. I really love the country!
So what I learned is that I am still tending to use the programs for what I like and not necessarily for what they are trying to get you to use them for. I believe that On1 Photo Raw 2018 has a pretty good interface for doing the RAW processing – it has a Midtones slider that I really like. I am still trying to figure out how to use the Localized Adjustment brushes effectively to improve on this. Luminar RAW processing sliders are pretty good – just set up a little differently. Since I love the special effects they provide, it is not as important to me personally. Same with Topaz Studio – I know this is where they are trying to improve. They have a bit of a problem since they have so many special effects filters to incorporate and work with a develop section. I have always been a major Lightroom fan, even participating in their Beta testing before it was released. I am so comfortable with it, it is hard to imagine using a different RAW program. On the other hand, I do not see Adobe trying to improve upon this program at all. These three other plugins are giving them notice to start looking into improving their product. I would give all three plugins an A for effort. Each have sliders that are unique to their programs and I am really starting to learn how to apply them. I believe we have an exciting year ahead to see where things are going with these updated programs/plugins. If you do not own them, try downloading a trial – it may really click with your workflow and anything that will get you through the basic post-processing of an image faster is a good deal. Have a great week!…..Digital Lady Syd
IMAGE SETTING INFORMATION
IMAGE 1: The top image was post-processed mainly in Lightroom and Serge Ramelli’s workflow was used – check out any of his videos for a pretty nice Lightroom workflow. No presets used and these settings were used but this is the order the sliders were adjusted: Shadows +79, Highlights -100, Blacks -100 and Whites +32 (hold ATL key and drag to find the clipping points), Temp 5661, Tint +40, Exposure -0.54 – usually do Vibrance too but not in this image. Went to the Graduated Filter and created two: placed one pin in the sky and set it to Temp -10, -0.73, Contrast -50, Highlights -6, Clarity -3, and Saturation 62; and in bottom dragging up, Exposure -0.87, Contrast 41, Clarity -48, and Saturation -51. The Radial Filter was opened up and 6 pins were added – used little ones to lighten areas in the tree and even out some of the color. The Orange flowers were brightened. Last the Adjustment brush ws used and the foreground color was desaturated a little bit (Saturation -34). Image was now taken into PS where the electrical lines were spot-healed out. Also the sky was cleaned as there was some glass reflection in the right top cloud area. For this image Nik Viveza 2 was used to bring out the orange flowers a little more and to add a soft vignette in the image. A Color Lookup Adjustment Layer was added using the Foggy Night preset and the layer was set to 79% layer opacity. That is all that was done in this image and it took me 20 minutes to get it right – I know that is partly because I understand the program really well and not so much Luminar.
IMAGE 2: This image looks pretty much like the Lightroom one which is not surprising since several of the PS steps used were similar. Here are the settings for Luminar (it’s a lot here): Bottom Layer – Develop: Temp 4, Tint 22, Highlights -60, Shadows 38, Whites -42, Blacks -82; Accent AI Filter: Boost 54; Adjustable Gradient: Top Exp -22, Contrast 47, Vibrance -18, and Warmth -60; Bottom Exp -62, Contrast 31, Vibrance 18, Warmth -7; Orientation Blend 47; Saturation/Vibrance: Vibrance Amount 31; Advanced Contrast: Highlights 68, Midtones 17, Shadows 8; Dehaze: Amount 23; Golden Hour: Amount 29/Saturation -33; Structure: Amount 24, Softness 47; Image Radiance: Amount 40, Smoothness 33, Brightness -56, Shadows 32, and Warmth -40, Sat 11; Vignette: Amount -29, size 37, Roundness -73, Feather 42, and Inner Light 43. Layer 0 – Dodge & Burn – Burn on tree on left – Strength 21%/Lighten on the right lower bright spot – Strength 21%. Layer 1 – Sun Ray Filter: Place Sun Center on right edge – X95/Y25, Amount 34, Look 66, Number 78, Length 65, Warmth 55, Radius 19, Glow Radius 70, Glow Amount 60, Warmth 66, Penetration 63, and Randomize 20. Layer 2 – Matte Look: Amount 47, Fade 49, Contrast 7, Vividness 11, Range 27, and Saturation 50. In PS, first the electrical lines were removed with the spot Healing Brush. The sky was really blown out so a light blue sky was added. Then some of my free Cloud brushes were used to add some clouds into the sky. A couple Spotlight Effect layers were used to direct attention into the trees and front of the house. (See my How to Add a Spot of Light blog.) A Color Lookup Adjustment Layer was applied using Foggy Night and 73% layer opacity (like in Image 1). Had to use a small Smudge Brush to smooth out the edges of the trees where the new sky leaves a little edge. Basically that is all there was to it.
IMAGE 3: This image used Topaz Studio. The settings were as follows: TSO – Basic Adjustments filter: Exposure -0.34, Clarity 0.29, Shadow 0.75, Highlight -0.65, Black Level -0.86, White Level 0.24, Temp -0.07, Tint 0.29; Brightness Contrast filter: Brightness -0.34, Contrast 0.96, Sat 1.65; Radiance filter: Dark, Strength 0.62, Width 0.20, Sat -0.42, Fade 0.39, Sat 1.00; Color Overlay filter: Color – #7c0008 – red cast preset – set to Screen bm at 0.30 opacity; Impression filter: Used SJ Underpaint Effect in Preset from drop-down and set Painting Progress slider to 0.34/inverted layer mask and just painted in where the trees and foreground area using brush and Mask Transparency of 0.17/set filter to 0.75 opacity. In PS removed the electrical line and the sky, which did not have any detail in them. A soft blue background layer was created and Grut’s FX Cloud Brushes (this whole set is fabulous!) – Kewm was used to paint in soft clouds at size 300 px. A Color Lookup Adjustment Layer set to Foggy Night preset and 63% layer opacity was added next. Five Layers all set to Overlay blend mode were used to add soft lighting effect on the various areas of the image to brighten them up – in the trees, front of house and the orange flowers – used a large soft round brush set to 50-100% Opacity and a Flow of 9%. Created a Red Channel Luminosity Curves Adjustment Layer to darken the sky area a little and add overall contrast to the image. (See my How to Use a Red Channel to Create a Nice Blend Image Effect blog.) Last step involved using a Gradient Adjustment Layer to create a slight vignette. (See my Yet Another Great Way to Create a Vignette blog.)
IMAGE 4: This image used On1 Photo Raw 2018. Here we go with some rather extensive settings – this program has a lot of choices for creating your image. In Develop module: 1. Cropped Image. 2. Use Crop Tool set to 67% feather and Size 15 to remove electrical line running throughout image. 3. Set Levels (Histogram) tab up top and adjusted the Tone & Color panel. 4. In Tone section adjusted the Highlights -26, Midtones -34, and Shadows -17. Love the Midtones slider – best improvement over LR for Raw files. 5. Clicked the clipping tabs in Histogram to see if clipping while adjust Whites -36 and Blacks -85. 6. Set Haze to -33. 7. Color Section set to Temp 5475 and Tint 40 and Vibrance 12. 8. Details – no changes – no noise. 9. Lens Correction: it was automatically set to my lens. Effects Module: 1. Opened Tone Enhancer filter and selected Darker from the drop-down under More. Set Compression (knocks down bright areas and opens up shadow areas) to max 200 – this brought the sky detail. 2. Selected Dynamic Contrast filter and set Medium to -47 and Large to-23, Shadows -26, Whites 9, and Blacks -12. 3. Color Enhancer filter – Vibrance 18, Orange set to Hue 17, Sat 8 and Brightness -12, Yellow set to Sat 6 and Brightness 3, and Purple Sat 19 and Brightness 20; in a mask painted in areas to make brighter on an inverted mask (mainly the orange flowers, red trees on left where some spotting was, and tips of green bushes and front of house) – set the Density to 74 and Feather 10; then changed Temp to 65. Did a bunch of readjustments to get this to look natural – used the Levels slider (set midtones tab to 2/3 left) – correct settings are above. 4. Glow filter – set to Dark Glow preset, Amount 69 and Halo 20, mode Multiply. Filter set to 80% opacity. In Photoshop: 1. Opened in Photoshop. Added a New Layer and selected the spot-healing brush – got rid of a grid from window glare by just scribbling back and forth in an upward stroke and incredibly got rid of all the ugliness! Just scribble left and right while moving upward – this works on large areas – and ran it up for quite a bit. If there are little white halos around trees and sky, can just run a small sized (8 px) spot-healing brush over the edges and they disappear. 2. Used a Levels AL to get the gray out of the sky. First used the TAT to brighten the sky in the gray area. Then inverted the mask and painted back the sky using PNaik brush. Readjusted the RGB channel, then changed to the blue to add a little blue tone into the sky to match the other areas. Then went into the Red channel and added a little red in to match the pink color in the sky. 3. Added a New Layer and named it Spotlight Effect – set to Overlay bm. Used soft round Reg Brush set to 100% opacity and Flow of 9% and added in white on the building and in the trees to really make the image pop. Set to 73% opacity. 4. Added a New Layer set to overlay and used a Green sampled color to reduce the effect of light in a corner using same brush again. 5. Used a Black and White AL – adjusted colors then set to Luminosity bm. Adjusted more and painted out the sky so it was not a blown out white. Set layer opacity to 47%. 6. Added a Selective Color AL – wanted to adjust the electric green grass in front of wall – set Yellows to Cyan -79, Magenta -7, Yellow -25, and Black -4; Neutrals Cyan -8, Magenta -2, Yellow -4 and Black +18. Loved the fall colors that showed up so set it to 86% layer opacity. Still had grass problem. 7. Added another Selective Color AL – This time to fix grass. Yellows Cyan -73, Magenta -3, Yellow -24, and Black -25; Greens: Cyan -72, Yellow +2, and Black +50; Inverted layer mask and painted back just the grass in front of wall. 8. Created a Red Channel Luminosity Channel to adjust the color a little. Used RGB channel only. Moved the left bottom black tab up and to the right (Input 7/Output 49), then dragged point to right a little to add a little detail effect (Input 26/Output 49). Pulled down on the overall curve just a little. 9. Used Karen Alsop’s trick to blend in elements. Set New Layer to 12% layer opacity and using a 500 Px brush set to 24 flow, sampled sky and painted over edges of leaves so they do not look so harsh. 10. Did final stroke and signature layers.