This week I thought I would just give you a quick run-down of a few of my favorite plug-ins for Photoshop where at least a couple are used on almost every one of my images. These filters in most cases are not for major creative endeavors, although I have used them that way before (check out Detail 3 for some great abstract effects), but the ones needed to make your image perfect. I have listed several Topaz (for website link, see my Tidbits Blog sidebar) products as they seem to do exactly what I like, but many other companies have some similar filters and would be fine if those are the plug-ins you own. The above photo used both Nik Viveza 2 and Topaz DeNoise along with the Photoshop Camera Raw filter.
**NIK VIVEZA 2**
This “oldie but goodie” product is one I use on almost all my images, whether on the actual images or digital paintings. Viveza is just totally mind-boggling when it come to fine-tuning the tone or color in your image. I use it as the last step for when the focus is not actually on the focal point as intended, or if a corner is just a little too bright compared to the rest of the image, or if a color just does not work in a part of the image. Works great as a Smart Object which is great since it may take a couple times to get the adjustment just right. It uses control points for small localized adjustments. The Nik products were bought by Google and can be downloaded to try out. I do not see any other plug-in that overlaps what this program does, except possibly the Photoshop Camera Raw filter – it can do some similar effects using the Adjustment Brush, but definitely not as easy. For my review on Viveza, check out my blog, Nik’s Viveza 2 Plug-In – A Hidden Gem!
**TOPAZ REMASK 5 **
Since I do a lot of animal and nature images, removing the objects from the original backgrounds is often necessary. ReMask is now so improved that it is totally worth the price if you do selections a lot. It really is better than Photoshop’s Refine Edge is most cases or any of the other plug-ins I own. I have written several blogs on this plug-in and that is why! Absolutely fabulous! See my blogs at Digital Lady Syd Reviews Topaz ReMask 5 and And the Best Complicated Selection Tool is?
**TOPAZ DETAIL AND TOPAZ CLARITY**
I still find the Detail plug-in is the best sharpening tool and use it on almost every image. Have used it for years. I also love Clarity (which uses contrast to control detail) – some images do better using Clarity, but for most of my images, Detail works best for me. Below is a good example of how good the Detail plug-in is and my review link at Digital Lady Syd Reviews Topaz Detail 3.
Here is one of my favorite Clarity images and my review link at Digital Lady Syd Reviews Topaz Clarity.
**TOPAZ DENOISE 5**
Most of my images are not taken at night, but since I still use an older Nikon D300 (I can’t seem to give it up!) which does not work great in dark areas, this plug-in works incredibly! It will always work for me when this situation occurs. (Also works great on aquarium pix!) This image was taken using ISO 1250, which with my camera sensor is really grainy, but this filter totally clean it up. Usually just an Overall Strength slider tweak and sometimes extra work in the Shadows, and it comes out nice and crisp. Check out my Digital Lady Syd Reviews Topaz DeNoise 5 blog for more information.
Well, there you have my basic filter run-down of the ones I use most often in my workflow. With some of the newer cameras, you many not need all of these. I know I am just very comfortable using those listed. There are some new filters out there that I have not had time to review – looking forward to putting Topaz Textures and OnOne Suite 10 (for website links, see my Tidbits Blog sidebar) through their paces soon. Looking forward to trying out some new plug-ins! Have a great week!…..Digital Lady Syd
Thought I would share a trick using one of my favorite plug-ins, Topaz ReStyle (see Topaz website link on sidebar at my Tidbits Blog), and how I used it on my bird painting of a Snowy Egret taken at the St. Augustine Alligator Farm Rookery quite a while ago. First used Topaz ReMask to separate the bird from his busy background, and then placed one of my Corel Painter backgrounds behind him. Many layers of painting were created using both Fay Sirkis and Melissa Gallo Photoshop brushes – both are Corel Painter Master Elites who also make wonderful Photoshop brushes. See Related Blogs at end regarding these steps.
Since I love Topaz ReStyle, and use it often, it was opened to change the colors in my bird image by applying the colors from a previous image I had painted. So how can this be done.
RESTYLE TIP: If you only want to tweak the colors, but not change the actual color scheme of your image, it is very easy to create a preset of just the colors already in your image which can then be adjusted. ReStyle creates Color Style sliders that represent the 5 major colors in your image so the Hue, Luminosity and Saturation can be adjusted individually. Also Basic sliders for adjusting the Temperature and Tint, Tones, and Details including one of my favorite effects, the Structure slider, will be available to use on your image.
- Press RESET button located on bottom right corner to remove any of the old settings that may appear from the last time the plug-in was opened. You will see that the Hue, Sat and Lum sliders all “zero” out and at this point only make very subtle changes to the image, especially if set to a different blend mode. The Basic sliders will show the changes to the image.
- Next click the (+) button (on the bottom left) and save a preset in a Collection – I created one called Colors from Images.
- Now all the ReStyle and Basic sliders will be available to adjust along with blend modes and mask brushes for each section.
On the bird image above, I used the the ReStyle preset created from the dancer image shown below. You can see my other image presets in my collection on the left including the one used with this image, and on the right are the actual major color sliders that are in the dancer’s image. (Click on screenshot to see larger view in Flickr.) All the sliders are set to “0” so they can be adjusted independently. This is a really great way to use this program. I am finding that if I like the color scheme in one of my images, it is nice to create a preset from it to use on future images. ReStyle has lots of wonderful “canned” presets, but sometimes I like my own color schemes as much. I do not believe ReStyle had a preset with the exact beautiful yellow and greens that were pulled from the dancer’s image.
If you have Topaz ReStyle, try creating a preset next time you are not sure your colors or tones are looking quite right so they can be subtly tweaked. And when bringing another image into the program, be sure to check out some of your own presets created from your favorite images. I have done this several times when I have been unable to get the colors right, and as you can see from my bird picture, many times the color combinations work great on your other images. Lots of cool ways to work with your images with ReStyle. Have a great week!…..Digital Lady Syd
This week I spent some time playing with a Photoshop plug-in that is in beta testing called PixelSquid. It allows you to add various items to create realistic composite images. Each element has 225 pre-rendered images shot from various angles and with shadow layers that can be adjusted in different ways. It has a fairly large learning curve, but the website covers all aspects of the program and overall it is not that difficult to do. The elements are kept in a Pixel SquidPanel Panel or Extension in Photoshop. (It does take a few moments to fill the panel with your items when Photoshop is opened each time and sometimes you have to log-in to their site to see your items and get new ones – a bit cumbersome.) They will be offering elements for sale, but at the moment you are allowed to download up to 100 objects. The best description of what they are doing is demonstrated in this short 3-minute video that covers the basics called PixelSquid: Getting Started on Vimeo. For an excellent example of how this program works, check out a blog called A Little Compositing Inspiration by Pete Collins at KelbyOne which introduced me to this Add On (see his original post called Check Out Pixel Squid). If you try it as a beta program, you will be allowed to keep the elements you have chosen, and they will let you download them from the site for free any time you want to use them again. This is a really nice thing they are doing.
In the image above, the elements added were the rather cartoon looking dog and the bike. For me the main hurdle was to try and get a natural look so the elements blend into the original image. I could not get the items to go on the blank layer the program creates but had to use PSD and “Open As Another Document,” move in the layers I wanted to use, and then delete the blank layer in my image. I am assuming they are working on this aspect of the Beta program. They offer a Depth Layer to help with this, but for me, I just painted on the objects and used the Blur Tool to soften edges. Really a lot of fun. For other info on post-processing of this image, see my Image 1 Notes at end of blog (this was a really long workflow but it will give you idea of what was done). Also, be sure that you have your Adobe Creative Cloud running, or it takes a work around to add the Extension and elements into Photoshop. This plug-in extension only works in Photoshop CC2015, but there are PNG , JPG and PSD files that can be downloaded and used in the other versions. Just adjust the object view you want on their website and download it to your computer to place in Photoshop. The PNG files come in very nice with shadows already set. (It seems almost easier than using the Extension if you like the way the object will fit in your image.)
This image is of a beautiful park in Savannah, Georgia, on a gorgeous Fall day. Several elements were added with PixelSquid – two trees, bushes, fountain, park benches and a little butterfly. This was really fun to create. Just remember it is rather tricky to do a composite that looks real-life, but there are numerous tutorials on the internet on how to do this. My goal was just to add some interesting lighting and correct shadows without doing a lot more. For more on post-processing, check out Image 2 at end of blog.
If there is a problem with this add on it is the issue discussed above that elements appear to need to be opened as PSD files in another document since I could not get the Low Res and High Res choices to open anything but a blank white layer. Then layers or the PSD group must be duplicated into your original document. (Highlight what you want to copy, be it layer or group or both, right click on the layer(s) and select Duplicate Layer (or Group)… In dialog, choose Document drop-down and select your image to place them in. Use the Move Tool to adjust location and Free Transform (CTRL+T) to adjust the size of the object(s).
I hope you will give it a try if you like to do this kind of thing in Photoshop. I can see a lot of uses for objects like this. It really is a lot of fun to try compositing, and since it is free right now, definitely worth looking into. Hope you all have a great Halloween and weekend!…..Digital Lady Syd
Notes for Images:
Image 1: This image needed a lot of manipulation to get to this point. First Topaz (see sidebar at my Tidbits Blog for website link) Clarity was used (used these settings: Dynamics Micro Contrast 0.19, Low Contrast 0.64, Medium Contrast 0.44, and High Contrast 0.25; Tone Level 0.30, Midtones 0.03, and White Level 0.19; and Hue Yellow -0.56, Sat 0.20, and Lum Orange 0.09). Next the Bike was added. The dog was added in next and it was duplicated to make a shadow as I did not like the way PixelSquid’s shadow looked for my lighting. The dog on the bottom layer was selected (CTRL+click on layer) and the dog was filled with black – then it was Free Transformed (CTRL+T) to look like the dog shadow, and the layer opacity was set to 22%. Two Curves Adjustment Layer was created – one for darkening the image and one for lightening. A stamped layer (CTRL+ALT+SHIFT+E) was created and Topaz Simplify was opened. (The Simplify settings are: Simplify – Colorspace RGB, Simplify Size 0.28, Details Strength 0.67, Details Boost 1.75, Details Size 0.20 and Remove Weak 0.10; Adjust Brightness -0.16, Contrast 1.00, Sat and Sat Boost 1.00, Dynamics 0.27, Structure 0.85 and Structure Boost 1.36; Edges – Edge Type Mono Line Fine, Edge Strength 2.35, Simplify Edge 0.29, Reduce Weak 10.00, Reduce Small 0.20, and Fatten Edge 0.66; and Vignette centered on dog, Vignette Strength -0.20, Vignette Size 0.30, Vignette Transition 0.65, and Vignette Curvature 0.83; and Overall Transparency 0.20.) These settings created a cartoon-like effect in the image. (See Serge Ramelli’s video on How to Turn a Photo into a Cartoon or Painting with Topaz Simplify for more on this. ) On another stamped object Nik Viveza 2 was used to pinpoint the dog and bike to blend them into the image correctly. On another stamped layer, Color Efex Pro 4 was opened and three filters were applied. (Settings used: Film Efex:Vintage using Film Type 14, Old Photo using Style 3 and set to Opacity 31%, and White Neutralizer.) The Blue Tool was used on the white parts of the bike tire to soften the brightness and set to 73% layer opacity. On another New Layer the dog was blurred with the Blur Tool set to 53% Strength. On another New Layer, Gruts Brushes-Natural Media Brush Lead Thumb was used to enhance some of the shadows in the image. (These are really great brushes with lots of variety.) On another New Layer some clouds were lightly painted in the sky. Then I added one of my textures on top that gave the image the warmer color – set to Hard Light at 93% layer opacity. The dog was painted on another New Layer using another one of Gruts Oil brushes. Since there was some real chromatic aberration around the tree leaves, on a stamped layer a Gaussian Blur was added to soft those edges by setting the Radius to 2.5. Then a black layer mask was added to this layer (CTRL+click on the Add Layer Mask to make black or CTRL+I inside white layer mask) and just the edges of the trees were painted back to blur the outline of the trees – this was caused by the Simplify filter settings. The last step was to add a Curves Adjustment Layer to add a little needed contrast back into the image.
Image 2: After initial tone adjustments in Lightroom, all nine objects and their shadows were brought into the image using the Duplicate technique in Image 1. On a stamped layer converted to a Smart Object (right click and select Smart Object), the Filter -> Render -> Lighting Effects was applied where an Infinite Light was applied in the direction of the light using a yellow light color; this really lightened up the image. On a stamped image, Topaz Lens Effects was opened and the Reflector filter was applied (Type Golden, Strength 0.11, Transition 0.32, Position 0.52, and Angle 122.9) to lighten more. On a stamped layer, Topaz Lens Effects was opened again and the Single Tone Filter, Warm Tone 2 preset, was applied to keep lightening up the image subtlety. The park benches and fountain edges were too sharp so a Filter -> Blur -> Gaussian Blur was applied at Radius 2.5. A black layer mask was applied and just the areas to be softened were painted back with a low opacity soft brush. Next New Layers were added to create some leaves and grass to further soften edges under trees and around the base of the fountain. Two Selective Color Adjustments Layers emphasizing the Yellow and Red colors – wanted the right tree to show up more and the path through the image needed to be more colorful for the eye to follow. The layer masks were turned black and with a white brush, these areas were painted back in. Next two Curves Adjustment Layers were added – one for just brightening the water in the fountain (black mask and painted back water), and the second to darken the whole image for contrast. More New Layers were created and several brushes were used to paint in detail. A Curves Adjustment Layer was added to give a bit of a vignette effect, but in the layer mask, areas showing the lighter edges of the trees and fountain were painted back. That was all that was done, but it takes a lot of adjustments to do compositing.
Had not planned on writing on this topic this week, but since I own Topaz (see sidebar at my Tidbits Blog for website link) ReMask, thought I would put it through its paces. Along the way, a couple other tips popped up! This image took me several hours to complete, but was worth it. The colors in these Scarlet Macaws are incredible and perfect for painting. I call this guy “King of the Alligator Farm” as he was so noticeable and seems to enjoy everybody checking him out.
Topaz recently updated their selection plug-in to ReMask 5 and the results are really great. Remember, if you own this plug-in, it is a free upgrade for you. The major improvement for me is the Background section as shown at end of blog. Otherwise I found the program to be just like Version 4 and it still works very well. (See my And the Best Complicated Selection Tool Is?) It took practically no time to separate this image with a distracting green colored background and place it on my Corel Painter texture. In fact, in most cases you do not have to fill in the areas. Check out this short basic tutorial for version 4, that works the same with version 5, on how to create a mask fast – ReMask 4 Masking Hair. After computing the mask, I usually adjust the Recovery slider (revives color of foreground in weaker transparent areas) and the Layer Mask strength (determines the brightness of the mask) to get better results in my masks. Check out the Manual for how all the slider work. Below is a screenshot of the ReMask 5 interface.
You need to go to Menu -> Preferences and check Enable Use-Layer-Mask to get a layer mask on image layer back in Photoshop. The final image used three different effects in Topaz Lens Effects: Fisheye to increase the head size a little (this work really good on bird images), Toy Camera Awesomeness I preset tweaking the sliders to get the rich color tones, and as a final step in this image using the Fog 1 preset which gives the final slightly faded feel around the bottom of the image to drive the eye upward. The basic workflow was the same one used in my How To Get a Painterly Effect for Wildlife and Birds blog. The biggest problem with this image was to get the focal point well defined on the face since the colors are so vivid and compete with the face.
ReMask 5 really selected the bird and feather edges very easily and without too much touch up in the resulting layer mask. I usually flip between the Mask view and the Keep View. The brushes in the plug-in are very sensitive so that you can really select the extra little spots needed just by tapping with the brushes – no real painting. To switch between the brushes use keyboard shortcuts “q” for to add back image, “w” to remove areas, and “e” to recompute the area. Zoom in close and tap away with the different brushes. Pretty easy. This is the basic trick to getting a really clean mask.
This Cattle Egret took lots of steps so I will not go over all of them. Just wanted to emphasize that the same Topaz ReMask 5 was used to select him. In this bird’s case, it took a little more clean up in Photoshop to get it exactly the way I liked it. The Oil Paint Filter in CS6 was applied to just the bird quickly, then I hand painted more on the bird. The Fog Filter in Topaz Lens Effects was used on the left side of the image to soften the body effect. Below is how the Cut View of the mask appeared for cattle egret image. One of my Corel Painter textures was added to the image a couple times for the final result.
Two things have been improved: Topaz has included a new Background icon at bottom of column where you can open any image to add into the shot as a background, and it is now a stand-alone program that interfaces smoothly with Lightroom. The best use for the Background section would probably be for adding a new sky in a landscape (see below) or as a background to a portrait. Have Background choices of Transparency (the default setting), Solid Color or Image where you can select an image or texture from your computer. Click the orange icon and you get options to Move, Scale (keeps aspect ratio so you cannot stretch the texture) or Rotate the background. Press the yellow icon to swap out the chosen background image. There are several basic sliders to adjust the background to blend in with the masked area. Below is a screenshot of this section where I replaced a sunset type sky with some painted clouds. The down side is that if you are using the plug-in within Photoshop, you will have to save the mask with the new background down in a JPEG, PNG or TIFF file format – it does not save as a layered PSD file. I found this very confusing as you have to reopen your image with the other formats in PS and mine all appeared to be flattened. For me it is easier to just create the mask in ReMask, then add the texture in Photoshop where there are more options for manipulating the blend between the two layers. Still it is a pretty handy thing to have for use with Lightroom. Here is the link on Flickr to the original image.
I still love Topaz ReMask and version 5 is even better. Definitely my “go-to” program for creating complicated selections. It is worth the time to figure out how quickly the selections can be made, even if just used as a starting point. You can always go back to the layer mask in Photoshop and tweak it some more. I usually have to. Have a good week!…..Digital Lady Syd
For a few weeks I have been experimenting with some of the wonderful painterly techniques of Jai Johnson, a wildlife enthusiast who creates absolutely beautiful images. I am finally getting some results that are appealing to my personal taste as I love photographing wildlife in the natural habitat. I thought I would pass on what works for me. On her website she has several really nice videos. She uses Topaz (see website link in sidebar of my Tidbits Blog) photoFXlab as a stand-alone, but it is pretty easy to follow along and do the same steps in most versions of Photoshop. Lately I have been doing my painting in CS6 to increase the stroking speed especially with the Mixer Brushes, although all the CC versions will work fine.
Love the beautiful egrets that can be found in the rookery at the St. Augustine Alligator Farm in the Spring. This bird just seemed happy to me and was a lot of fun to paint. The background is one created in Painter for him. I believe you could create some nice watercolor backgrounds in Photoshop that would give a similar result. I needed a yellow warm light in the background to match the sunlight on his body. Used Jai’s basic workflow that puts him on top and then in a black mask, the original background is removed. She also uses Topaz Lens Effects Graduated Neutral Density filter – in this case used to lighten the bird up. The texture was duplicated two more times and placed on top – one used Multiply blend mode at 16% layer opacity and the other Color Dodge blend mode at 15% layer opacity. A Hue/Saturation Adjustment layer was opened and the Colorize button was checked with the Hue set to 48 and Saturation 25 – filled the mask with black (CTRL+I in mask) and painted back just lightly areas I wanted the warmer color to appear. Nik Viveza 2 was used to add emphasis to the head area. The Eyes and Beak were sharpened using two Exposure Adjustment Layers. (See my How To Do a Quick Eye Sharpening in Photoshop blog,) Then a stamped layers (CTRL+ALT+SHIFT+E) was created on top and opened in Topaz ReStyle using the Peppermint Gray preset (one of my favorites) to get a little different color balance. Back in PS the layer was set to 45% layer opacity and the bottom foreground was painted out in a layer mask to keep it slightly darker so the bird looks grounded. Last steps involved used New Layers to clean up distracting colors or areas.
I totally love Wood Storks, the gentle looking birds that are everywhere down here in Florida. This one happened to be standing in the top of a tree at the St. Augustine Alligator Farm Rookery, but they are everywhere in my neighborhood. There were actually two other birds next to him doing some crazy things so I removed them. They seem to tolerate people very well also.
In this image he was placed on a new texture created just for him in Painter. I tried to use complementary colors to the bird. If you like this type of texture, check out Jai Johnson‘s inexpensive (and some really nice free ones) and beautiful textures that give similar effects. The usual steps were taken of putting the bird layer on top of the texture, adding a black layer mask, and painting just the bird back with a white brush in the mask so the texture shows through from below. One of Jai’s great tips is to try to match up the texture with the original background colors of your subject. Used the Properties Panel Density slider to reduce the mask opacity to be able to see where the subject is for the initial painting in the layer mask, then put the slider back up to 100% when blocked in a little. Duplicated the texture and placed it on top of the bird layer, set it to Soft Light Blend Mode at 62% layer opacity. Did some clean up layers to even out some of the edges.
I am finding Topaz Lens Effect’s Toy Camera filter is working well with my bird images. A stamped layer (CTRL+ALT+SHIFT+E) was created on top to apply this filter. Looked at the different presets and choose one, in this case the Yellow Green Low Contrast preset. The Vignette was set 0 and all the sliders in the Toy Camera Aberrations section far left to 0 since I really do not want the Toy Camera effect. The next Toy Camera sections should be adjusted for the individual image. (For the above the Region Size was set to 0.17, Transition 0.42 and Angle 55.25 – especially watch the Angle as it affects how the colors lay out on the image. Next adjusted the Region A Color Cast and Region B Color Cast to fit this image – mainly adding a little bit of Reds, Yellows and Blues to get the colors I liked.) I like how you can really adjust the colors around to get some nice blended effects. Finally adjusted the standard Image Adjustment sliders to add saturation and contrast. These presets, with some tweaking, can really give an image a beautiful soft and blended result.
The Eyes were again sharpened using the Exposure Adjustment Layer, and then another for just the beak. These two areas have to be sharp since the eye will look first at them with birds, but be careful not to over-sharpen so they do not blend into the image – reduce the opacity of the adjustment layer a little if this happens. Next I wanted to add just a little contrast around his head so a Curves Adjustment Layer was used to add some burning by pulling down on the curve to get the correct tone behind his head, filling the mask with black (CTRL+I), and painting back where I want the effect. (See my How to Use Curves Adjustment Layer to Dodge and Burn an Image blog). The last step added Nik Viveza 2 to really make the focal point, the head area, pop out. Since the background is competing with his white feathers, the feathers needed some punch and a little softening in this area.
This beautiful photo was from FreeImages – wish I could take credit for taking this image. The photo was used to follow the steps in Jai’s last video called Working With Bold Colors and Abstract Textures. This image had a really bright colored texture like Jai was using as a background. In her video she suggested trying out Topaz ReStyle, and that is where this color effect was applied. Also Topaz Adjust’s Boost preset was used instead of the Bold preset she prefers on the tiger layer. Topaz Simplify’s BuzzSim preset was used on just the subject layer. On a stamped layer Topaz Lens Effects Graduated Neutral Density filter was applied, and then ReStyle’s Dusty Desert preset which gives the almost colorless result. To finish an Exposure Adjustment Layer for the eyes and then Nik Viveza 2 to even out the background just a little were applied. Wish I had taken this image. Sigh!
Well hope you get a chance to check out Jai Johnson’s techniques on your wildlife images. Like I said, all her techniques can be used in Photoshop without too many changes – just experiment with the brush opacity and Flow settings is about all I see that is a little different. And I really like the Topaz Lens Effects Toy Camera effects – something I had not even looked at before! Hope you are all having a great summer – I am!…..Digital Lady Syd
This week I decided to try to find a replacement for the Oil Paint Filter effect that Photoshop CS6 and CC used and everyone liked so much. It was removed from Photoshop CC2014 and CC2015. I did not use it that much, but sometimes it was nice to use. I ran across a little free plug-in that gives a similar result as the Oil Painter filter and many people seem to be liking it. Also I created a Topaz (see sidebar at my Tidbits Blog for website link) Impression preset that also gives a similar effect.
The image above shows the results of using the plug-in called GREYCstoration that is a free download for WINDOWS users and Photoshop CC2014/2015 only (I downloaded by clicking on this link and scrolling down to Petopeto 2nd entry from almost two years ago-use the top link in entry). Copy the Greyc-helper.bin and Greyc-x64.8bf into the c:\Program Files\Adobe\Adobe Photoshop CC 2015 or 2014\Plug-ins\ folder. I did not put any of the other files in the downloaded folder, just those two. Now here is the kicker – to find the plug-in, you must look under Filter -> Noise -> GREYCstoration. (Note: sometimes I get an error so just say try again and it usually comes up anyway.) The effect does not appear to be as strong as the Oil Painter Filter, so I found that by applying it several times, the result was better. If you go to the link above you will find the default settings for this filter and a blogger’s settings that he likes. I used some even stronger settings to get the effect on the photos above and below. (Strength 999, Contour 0.0, Anisotropy 1, Noise Scale 0.1, Geometry Regularity 2, Initial gaussian blur o, Iterations 1, Gfact 1, Spatial step 0.8, Angular step 30, Gauss precision 2, Interpolation nearest, Stage display Normal, Threads Auto, and checked all three – Fast approximation, Alt amplitude, and GPU). The interface is not that great, but you can still see the results when trying different settings, but some of the settings do not appear to work. Also varying the Geometry Regularity gives some very different results. The other value I changed around some was the Contour setting. Below is a Cattle Egret using the same filter twice and settings as above, once on the original image layer and once after my Corel Painter texture was applied.
Topaz Impression Using My SJ Oil Paint Preset
The image above is an example of using a Liquid Lines preset in Topaz Impression to get a similar effect. This used the Liquid Lines III preset with these changes – Paint Opacity +0.35 (lets you see strokes better), Paint Volume +0.35, Stroke Width -0.93 and Stroke Length -0.93; and then the Overall Hue, Saturation and Lightness sliders were set to 0 and the Brightness, Contrast and Vignette were all set to 0. This layer was set to 78% as I felt the effect was way too strong. Many of the presets in the Modern category of Impression give some very similar effects.
Photoshop Oil Paint Filter
Here are the images with Photoshop’s Oil Paint Filter applied.
The settings for the PS Oil Paint Filter above are Stylization 7.97, Cleanliness 4.8, Scale 0.84, Bristle Detail 6.9, Angular Direction 180, and Shine 1.5.
Several other plug-ins were used to try and get similar results. Topaz Glow can be adjusted to get some of the Oil Paint effect, but it really does not do as well as Impression. Several other major plug-ins were tried, but as yet, I could not get as good a result as the above two. I will let everyone know if anything better comes up. I do believe that the GREYCstoration is not a bad alternative to the original PS Oil Paint Filter, but it is limited to Windows. Topaz Impression makes a valiant effort and with some further tweaking, an even better preset can probably be produced. Bottom line is that if you have Photoshop CS6 or CC, keep it around if you really want this effect. That is what I am doing. Hope you found this helpful. Have a nice week!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Photoshop’s CS6 (and Pixel Bender’s) Oil Paint Filter
Digital Lady Syd Speaks Out on Topaz Impression
This week I am just doing a short blog on plug in that has been around awhile, and one I have not used recently. The plug-in is called Topaz (see website link in sidebar at my Tidbits Blog) Lens Effects and it creates a lot of special effects. I was able to get this rather unique look above by painting in Photoshop and using Lens Effects.
The above is just a little pond image created using my favorite Frostbo’s Grass Set2 for Photoshop brushes and Topaz Impression to get this painterly look.
These steps were taken before the plug-in was used. First a basic light blue painted background was created in Corel Painter to use for building up my image. A similar result could have been done using a watercolor wash brush in Photoshop. Then in PS, several of Frostbo’s brushes were used to create the reeds and grass around the water – see blog link below that shows how to tweak his brushes for even some different results. Separate layers were used for each brush type and different colors were used and blended. TIP: If the brush strokes look too sharp, just use a small 4 pixel Smudge Brush set to a Strength of 15% and paint over edges. The plant layers were all grouped. Then the group was duplicated, merged, and flipped upside down to create a slight reflection in the water. On a stamped layer above (CTRL+ALT+SHIFT+E) Topaz Impression’s Ethereal Background by Blake Rudis preset was applied. A B&W Adjustment Layer was added to see where the focal point was going – and it needed to be adjusted. The adjustment was set to Luminosity blend mode at 83% layer opacity since it was used to adjust the focal point. Nik Viveza 2 added a little color to the water in the middle and some to the upper corners where the sky is. I still did not like the colors in the image so Impression was applied to another stamped layer using Swirly Strokes III. In Photoshop a black layer mask was added and just where I wanted more color added was painted back. Below is where the image was at this point, and I thought I really liked it.
But then it seemed like a little directional color needed to be added. So that is when Topaz Lens Effects was opened two filters were applied. The Reflector (set to Golden Type, Strength 0.20, Transition 0.23, Position 0.31, and Angle 306.5) to add just a little warmth in the lower right foreground. The next filter was the Split Prism (Two – Mixing level 0.44, Radius 0.27, Rotation 45.00, Type II, Effect Center (659,349)) which added another smaller version of the painted image into the photo. A layer mask had to be added and edges cleaned up. Also on a New Layer above, some Clone Stamp and Spot Healing Brush clean up was done. On a New Layer, Frostbo’s Snow Drops brush (just one brush but really great to add in a little snow look) was used to add in some scattered snow, and then the Blur Tool was used to soften them slightly – similar effect to using the Smudge Tool above. I could never think of a good use for Split Prism filter and this image is really a cool way to use it! You can see this made an immense change to the image and I think it definitely added interest into it.
This image is of a Roseate Spoonbill taken at the St. Augustine Alligator Farm Rookery. Not sure how I got this crazy landing shot, but it sort of fits the crazy antics these birds do. The texture was one I created in Corel Painter to use with this beautiful bird. The bird image was first painted with Mixer Brushes in Photoshop. The texture layer was added at the bottom of the Layer Panel. Then a black mask was added to the top bird layer and just the bird and part of the tree were painted back so the background showed up. I wanted some colors in the background that blended nicely with the beautiful pink in the bird. Topaz Lens Effects Reflector filter was used to lighten the bird slightly (settings were Type Golden, Strength 0.47, Transition 0.40. Position 0.30, and Angle 271.3). Next another copy of the texture was placed on top and set to Multiply blend mode at 62% layer opacity. Created a stamped layer above (CTRL+ALT+SHIFT+E) and opened Lens Effects again and selecting the Fisheye Lens filter set to Distortion Amount 0.25. By placing the effect on the bird, it gives a very comical effect to the image. Back in PS the bird was selected and the Content Aware Move tool was used to move the bird over to the right a little more in the image. Another stamped layer was created and this time the same Fisheye filter effect was centered on the tree to stretch it out some like it was reaching out to the bird. Back in PS a black layer mask was added and just the tree was added back into the image, so now both the bird and tree had exaggerated characteristics. On another stamped layer a Lens Effect’s Single Tone Filter using the Old School Haze II was applied. After that a little PS Camera Raw Filter magic was performed using the Radial Filters to get the bird colors and tree colors just right. There were some adjustments layers and burn layer to finish up, but basically the Lens Effect filters created the colorful result of this image.
So we covered the Topaz Lens Effects’ Reflector Filter, Split Prism Filter, Fisheye Lens Filter, and Single Tone Filter. I actually added the UV Haze Filter on the image above – the paint strokes could be seen really nicely but decided against using it for the final version. There are really nice Lens Motion effect, Streak Filter, a Diffusion Filter, Polarization Filter, Graduated Color Filter, Fog Filter, Toy Camera effect, and Tilt & Shift Camera effect to name a few, all with presets or sliders to make your own presets. There are some serious Bokeh Effects that can be achieved with this plug-in also, but I have not covered this. Check out Topaz Labs website for more info on these.
Well I hope this will give you a little incentive to take another look at the Topaz Lens Effects if you own this plug-in, or download a trial to try out. There are lots of choices and it definitely adds some dimension for the creative post-processing of images. Many of the effects are not contained in other plug-ins, which is one of the reasons I really like the Topaz plug-ins. And it was a lot of fun, and for me that’s what it is all about!…..Digital Lady Syd