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
This week I watched an interesting short video by Chris Spooner of Spoon Graphics called Airbrushed Film Poster Effect so I decided to give it a try. The images in this blog are all the result of using of his steps or variations of them. This first image from Disney World follows most of his steps closely. I wanted to start by trying the actual steps to really understand how this effect is achieved. Also, I found it easier to understand what he is saying by turning on the closed captions for this video. Chris says this effect works best with darker low key photos with lots of details.
The basic steps are listed below, but I found some better ways to create some of these effect using Photoshop plug-ins from vendors as opposed to all the PS filters in this workflow. First off, the image needs to be in 8-bit Mode if using the PS filters so go to Image -> Mode -> 8 Bits/Channels. Chris starts with using the High Pass Filter set to a fairly low Radius and the top image used the filter with a Radius of 2 pixels. Chris used the Oil Paint Filter for the painterly effect on his image, but this just is not one of my favorites so the layer was taken into Topaz Impression 2 where Abstract Settings-Blake Rudis preset was applied. That is my only deviation from the workflow.
This next step is one that could be useful for other workflows. A RGB Luminosity Channel was selected by going to the Channels Panel and CTRL+clicking on the thumbnail to select the Highlights in the image. Once selected, changed to the Layers Panel. Copy and Paste (Edit -> Copy and Edit -> Paste) creates a new layer showing just the highlights on the layer. It is set to Vivid Light and the opacity is lowered. Then go to Select -> Reselect and create a New Layer. Fill selection with white using CTRL+Backspace if colors set to default black and white or Edit -> Select and set Contents to White. This layer was set to Soft Light blend mode. These steps really give an interesting look to the image and could be good for other types of effects.
This video used the Poster Edges in the Artistic Effects filter and set them to Edge Thickness 0/Edge Intensity 0 and Posterization 6 which adds dark lines into image. To get similar results for light lines, on a duplicate layer the color was desaturated (SHIFT+CTRL+U) and the Glowing Edges filter (Edge Width 1, Edge Brightness 2, and Smoothness 1) in the Stylize section was applied. It was set to Screen blend mode and the opacity was adjusted. The last few steps involved adding Noise by filling a layer with 50% Gray and than applying the Add Noise at 20% to give some grain to the image. Chris then added a tan paper texture on top and set it to Soft Light blend mode. For the above image, 2 Little Owl’s Color Bokeh Grunge Set No. 6 (for website link see my Tidbits Blog sidebar) was used to get the grungy effect.
The process is a bit tricky as there are a lot of things going on, but once attempted, you can see how to make the image look more like that airbrushed effect in posters.
*****The above is of Jim Sawgrass, the Master of Ceremonies at the Ormond Beach Native American Festivals, who gives excellent talks on the traditions and lives of Native Americans throughout the country. It was my second attempt to get this poster effect and several workflow steps were changed to get this result. For starters this man was selected from the original image using PS Select and Refine Command – this works pretty well on rather detailed objects. Lucis Pro 6.0.9 (no longer available but I keep looking for it) to sharpen the image since this filter gives a nice poster feel, but Topaz (for website link see my Tidbits Blog sidebar) Detail or Clarity could have been used. No painterly effect was used on this image. Same steps as above were then followed except the RGB Luminosity layer was set to Pin Light blend mode at 71% layer opacity instead of Vivid Light. No layer was desaturated (accidentally) but it turned out fine. Same PS filter settings. Jai Johnson’s Daily Textures Unpredictable (No. 6) was placed underneath the man and on top 2 Little Owl’s Color Bokeh Grunge Set texture with a layer mask added to paint back the player. Just some clean up was done after this. I went back and added Nik Color Efex Pro on this image after finishing the horses as the results really enforced the poster feel. Therefore, Bleach Bypass, Darken/Lighten Center, and Film Efex Nostalgic Film Type 7 filters were applied – used different opacities to get the effect.
A similar workflow as above was used on this toy horse image also taken at the Native American Festival. This image looks even more like a Poster. After selecting the horses, to get the airbrushed effect Topaz Impression 2 was opened and the Painterly II preset was used. This preset seems to give a great slightly painterly feel that a poster requires. The white highlights layer was set to Color Dodge blend mode instead of Soft Light and was set to 74% layer opacity. The Poster Edges filter was applied with the Edge Intensity changed to 2. The Glowing Edges filter settings were changed to Edge Width 2, Edge Brightness 4, and Smoothness 3. These sliders can all be adjusted to get a needed effect. The grainy look needed to be applied so this time Nik Color Efex Pro 2 was opened and Film Efex: Vintage filter was applied and then the Bleach Bypass filter as it looked really good. The Nik filters really seemed to enhance the poster effect so try different ones to pop the colors especially. Another one of Jai Johnson’s Daily Textures Unpredictable 16 was placed underneath the horses.
There is a little trick here that I figured out to help add that poster look. On a New Layer on top, my SJ Pastel 3 brush was used to just lightly paint over some of the edges around the horses. It made some of the hard edges sort of fade into the image and by using a color that matched the background a little, it added to the overall painterly effect. This was done to a lesser extent to the Native American horn blower. For info on making this brush, see my How to Use Photoshop’s Brush Texture Section for Painting Clean-up blog.
If you like the airbrushed poster effect, this is a pretty good workflow and lots of options to make it look more like your own creation. Remember the results depend a lot on what the resolution and brightness of the image is at the beginning. I appreciate Chris Spooner sharing this type of workflow which is so flexible and gives everyone a chance to create the effect. Until next week…..Digital Lady Syd
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The Road to Hana
This week posting another oldie but goodie from my Tidbits Blog and a newer image with some of my favorite newer filters. I loved the way the above image turned out – never expected it to be this pretty considering it was an image I snapped while standing on the street in front of our hotel. It is Nelson Monument (in center) and Acropolis (aka National Monument of Scotland on left corner) on Calton Hill – I did not get to visit this site but wish I had. This was not difficult to process once I got going. After cleaning up a rather boring image, Topaz (for website link see my Tidbits Blog sidebar) Simplify was opened and a preset I call the John Barclay BuzSim Setting preset was used. I listened to one of John’s excellent videos on Topaz Labs and created this preset which has a very subtle result. (The settings are: Simplify: Colorspace RGB, Simplify Size 0.19, Details Boost 1.00, and Details Size 0.20; Adjust: Brightness 0.01, Contrast 1.08, Saturation 1.03, Saturation Boost 1.15, Structure 1.00, and Structure Boost 1.00; and Edges: Edge Type – Color Edge Normal, Edge Strength 0.00, Simplify Edge 0.30, Reduce Weak 10.00, Reduce Small 0.20 and Flatten Edge 0.00.) Next I added 2 lil Owls (for website link see my Tidbits Blog sidebar) Workshop 6 – Texture 1 which has the beautiful turquoise and light yellow sky color – the layer was set to Overlay Blend Mode. The beautiful text was supplied by my favorite Shadowhouse Creations – his Text Brush 5. I actually clipped a bright green Color Fill Adjustment Layer to the text (to clip just ALT+click between the two layers and the color fill adjustment layer will only affect the layer below) – then the text layer was set to 55% opacity. Another 2 Lil’ Owls Texture – texture 4 was used as an overlay frame. A light yellow Color Fill Adjustment Layer was clipped to the texture file. A Curves Adjustment Layer where the red, green and blue channels were adjusted to get this slight vintage feel. The last thing done was to add a Color Fill Adjustment Layer to the whole image using a soft cream color (#c6c3bd) and the Nelson Monument was painted out in the layer mask so the eye is drawn to that area of the image.
This image from the Ormond Memorial Art Museum and Gardens in Ormond Beach, Florida, used the same Topaz Simplify preset by John Barclay and just used Topaz Texture Effects 2’s Facing Fast preset. This time the effect was removed from the foreground flowers and Nik Viveza 2 was used to add a little vignette effect to the image. Texture Effects does a really great job of giving vintage effects and it is always fun to try out the different presets and combinations by adding new sections to get some great results.
Had a lot of fun as usual – never get tired of this!…..Digital Lady Syd
Basically this blog is showing that filters or plug-ins do not have to be applied on a layer with the second one applied on top of the first one on the same layer, but rather they can be applied to the same original duplicated layer and by using layer masks the desired effects from can be inserted. This image above followed a workflow that followed my Nik HDR Efex Pro 2 and Topaz Clarity Together? Tidbits Blog from a few years ago. It had been a while since HDR Efex Pro2 (part of the free download from Google-Nik) was used so it seemed like a good time to try it out again. The original image from the Tidbits Blog is shown below. This image was taken yesterday at the 28th Native American Festival in Ormond Beach, Florida. The displays and costumes really give a nice variety for those who love photography (and the vendors and show organizers are some of the nicest people!). The focus area of the two teapots show more of the HDR plug-in effect and the rest of the image has more of the Topaz Clarity filter effect. Any plug-ins can be used this way, these are just what I was using for this image.
HDR Efex Pro 2
The image was first opened in Lightroom where it was brightened up just a bit. Then in Photoshop, the background was duplicated, converted to a Smart Object (right click on layer and select Convert to Smart Object), and HDR Efex Pro2 was opened from the Filters menu. Note: you do not have to be shooting HDR photos to use this plug-in – it works fine with just one image. (For info on how to use if shooting with more than one image, see my How To use Google (Nik) HDR Efex Pro 2 Blog.) This is another one of those huge plug-ins with lots of sliders and presets to play around with on your images so the Smart Object allows you to go back and adjust it if it look wrong (double click on the thumbnail in the Layer Panel). In this case the Outdoor 2 preset was applied. One of the best things in this plug-in is the Levels & Curves section where besides RGB and the individual channels, there is a the Luminosity Curve that can be adjusted – this was done for this image. The curve was pulled downward to get a nice overall effect. Then the Tonality section Structure slider was set to 31% and the Color Temperature was set to -20% and Saturation 19%. That was all that was done to this preset.
Now for the Topaz (for website link see sidebar at my Tidbits Blog) Clarity part. This is one of my favorite Topaz plug-ins partly because of the versatility in it. The HDR Efex layer was turned off and the background duplicated again and set just above the background layer. Since the HDR Efex layer had way too much contrast for the softer vintage effect I wanted, a preset that I created for painting was applied in Clarity. It totally softens the whole image but the colors looked really good. (Here are the settings if you are interested: Clarity Dynamics Micro Contrast -0.86, Low Contrast -0.86, Medium Contrast 0.63, and High Contrast 0.94; Tone Level Black Level -0.19, Midtones -0.36, and White Level 0.19; HSL Filter Hue – no changes; Sat Orange 0.06, Yellow 0.63, Green 0.13, Blue 0.25 0.25, and Overall -0.45; and Lum Orange 0.36, Yellow -0.34, Green -0.42, Blue 0.61, Purple 0.11, Magenta 0.75, and Overall -0.27 – all other colors were 0.00. Adjust these settings around if they do not quite fit the effect you want.)
The HDR Efex layer was turned on and a black layer mask was added (press ALT key while clicking the layer mask icon at bottom of Layers Panel). Just the areas where more contrast was needed was painted back into the image – mainly around the teapots where the focal point is. A round brush set to 50% opacity was used so edges were not too sharp.
Photoshop Brushes for Clean up
Some of the background in the curtains did not look so nice, so the brushes were brought out to paint in some colors and blend some colors on a New Layer. It is so handy to have a good Regular Brush and Mixer for clean up. A pastel with rough edges was used to paint over some greenish shadow colors that did not fit the image. The brush can be downloaded from SDW Haven Pastel Brushes Part 1 – it is the last brush or 11th brush in this free set. (These are the settings used for the brush: Brush Tip Shape: I like it as a small size so it is set to 8 pixels but enlarge it often, Angle 137 degrees, Roundness 100% and Spacing 35%; Shape Dynamics: Angle Jitter 42%; Texture – Rough located in PS Erodible Textures (load by clicking texture patter, then on the cog wheel and Load Erodible Textures, and set to Scale 87%, Brightness -45, Contrast 0, check Texture Each Tip, Mode Multiply, Depth 50%, Depth Jitter 1%, and Control Off; and check Smoothing.) This brush also clean up funny colored edges nicely – just ALT+click in the image on the color to sample, and lightly paint in. I usually paint at 67% opacity with this brush.
Then an overall soft Mixer blender was used to mix up the edges. The brush I use is by David Belliveau from Paintable – here is a link to his free brushes and his How to Blend Colors in Photoshop: 4 Essential Technique blog. David does a great job explaining how to use brushes in Photoshop. On the clean up layers, I just kept going back and forth between the Regular and the Mixer brush adding color and blending until the color and edges look smooth. The Mixer also does a great job of softening lines that appear too sharp in the background. I use these two brushes all the time to both clean up images and paint in Photoshop.
Finishing Up the Image
Last steps involved adding on a stamped layer (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 with adjustments to the Crisp Morning Run preset. A Spot Mask was used over the center pots so they were not affected as much by the plug-in. Duplicated the layer and applied Nik Viveza 2 to further sharpen the two middle teapots and add a little more saturation to that area. Duplicated the layer again and Topaz Lens Effects was opened and a Silver Reflector filter coming from the left was applied – just to add a softer effect and emphasize where the light was. Using these three plug-ins one after the other is an example of applying them onto each other and no masking was involved. Therefore the effects of Texture Effects is in the image where Nik Viveza 2 was applied which is in the results of applying the Lens Effects filter. If you wanted to get down to the original Background effect, many masks were have to be created. Subtle but significant difference.
Overall HDR Efex Pro and Clarity are not a bad combination for getting some nice effects in Photoshop. Both images used the filters discussed above. Each filter was added on its own duplicated Background layer and then the parts of the image to be concealed were masked in or out on each layer. For the top image it just did not look as good when one filter was applied over the other one. This is really important to remember if you are liking the effect in two different filters – they do not have to both be applied over each other – just mask in or out what you like on separate layers. And do try out the brushes – they work really well together. Hope everyone is coping with the winter and staying warm. Until next time…..Digital Lady Syd