Not sure I have blogged on photo restoration much. This week I am going to show you how to colorize old images to give them a nice tinted effect. This image is of my Great-Grandmother Alice Ann Green says it was from 1913. I thought she looked awfully young to be a grandmother at this point in her life since she was born on 7/6/1861, but her hair might actually be slightly grayed as seen in the original below.
I learned how to do this from photo restoration specialist Suzette Allen when she appeared on Creative Live a while back. This is how she uses Solid Color Adjustments Layers to add color to her images. I might add the skin effect is also from her video but that is another blog as it is a bit tricky. In this case various Solid Color Adjustment Layers were used for her skin, then hair, and finally the dress and background. In all 7 were used. I would suggest you first download Suzette Allen Color Guide Faces photo – a free download from her website – before beginning. Frequently I open up this image in Photoshop to use for sampling skin and lip color. Nik’s Color Efex Pro was used at the end and Flypaper Textures Nik Color Efex Presets White Buttons was applied. The Frame was added in the Smart Photo Editor plug-in using the white border with gray stroke classic border. The Solid Color Adjustment Layer technique is the same as in the workflow below.
The cute kid image was downloaded from one of my very favorite websites, Shorpy Historical Photo Archive (this links directly to the original black and white image and there are some pretty interesting comments on the playground itself), and was taken in New York City on July 14, 1941. A few months ago I did a little vintage blog on how to make a nice old photo really look vintage. (See How to Add More Vintage Feel to An Old Photo blog.) (Also check out my Related Blogs below for how Calvin Hollywood uses Solid Color Adjustment Layers.) So here is the basic workflow on how to colorize your old images.
1. First I sharpened the image overall using Topaz (see sidebar at my Tidbits Blog for website link) Detail 3’s Overall Detail Light preset, but you can sharpen anyway you want. Do any major adjustments to the photo before starting the colorization process.
2. Select a Solid Color Adjustment Layer. Fill the layer mask with black by clicking on it and CTRL+I to fill with black.
3. Change the blend mode of the adjustment layer to Color and the layer opacity to 32%. Name it so you can tell quickly where it was used.
4. Suzette suggests starting to colorize with the skin first. Open up her Color Guide Faces in Photoshop. In the image click on the foreground swatch and then click in the guide and click on a skin tone to use in your image.
5. Go back to your image and double click on the Solid Color Adjust Layer color box in the Layer Panel which brings up the Color Picker. By dragging your cursor outside the Color Picker, it turns into an eyedropper to sample the Foreground Color in the swatch at bottom of the Toolbar. Your adjustment layer will now have the the skin tone color from the guide.
6. Click on the black mask and paint with a brush with a white (brush changes from the colors to black and white when painting in a layer mask). Set your brush to white and 12-30% brush opacity in the Property Bar and add a little hardness to the brush so you can get some fairly close edges. You will now see the color being painted on the skin area.
7. When finished with that color, duplicate the layer by CTRL+J. Now rename this layer to indicate the new area you will be working on and fill the layer mask with black again (CTRL+BACKSPACE in the mask). Go back to the Guide and choose another skin tone for the Foreground Color – back in your photo sample the Foreground color and start painting in white on the mask again.
It really is an easy process once you do it a couple of times. I created separate Solid Color Adjustments layers for each skin area, along with hair, dress color, background colors, etc. To keep everything straight, Groups were created (highlight the layers and press CTRL+G to group them) with those titles since there were 10 or 11 Solid Color Adjustments Layers in each group.
The nice thing about this technique is that it is easy to go back and change a color if it does not look right. By double clicking on the color swatch of the adjustment layer, you open the color picker where several different colors can be selected – a live update will show in your image as you hover over each color. This is a really easy way to add believable color to an image.
The rest of the image effect was created using a New Layer and doing some skin smoothing by sampling nearby colors to smooth some of the splotchiness, and by applying Nik Color Efex Pro’s Glamour Glow, Film Efex-Faded, Image Borders, and Brilliance/Warmth to get the final result. This image actually took quite a while to complete, but the localized colors in both the clothes and skin tones did create a nice result from a rather dull and cluttered black and white image.
Not all images work well for this type of technique – you just have to experiment to see how it looks. It can be a bit tedious to really get a good result, but overall it can really make your vintage images pop. It is fun to try and figure out what your long lost relative may have looked liked in color. Give this technique a try – works great on any type of image. I find I am really enjoying trying this out on my old photos. Have a great week!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
How To Use A Solid Color Fill Adjustment Layer
Digital Lady Syd Reviews Smart Photo Editor Photoshop Plug-In
This week I decided to play around with some photo masks – some very nice ones that I purchased from French Kiss (see sidebar at my Tidbits Blog for website link) called Brayered Blocks Clipping Masks and others that are free to download or I created. The masks make some interesting framing effects, especially when stacked. They are actually a lot of fun to use, but it does take some understanding as to how the masks work to get a nice result. This short tutorial that Nicole created on how to use her masks called Using and Embellishing Photo Masks was very helpful and she has several other related blogs to view. The image of Dewey above took a lot of clean up as this image was taken of a display with lots of glass reflection. Check out Image 1 below for all the gory details on how I did this crazy image and how to add in this type of mask! This one took a while to do! This generic image of some gondolas used photo masks created using brushes. A new image was created with the photo added on top. This time Shadowhouse Creations Grunge Frames brushes, which are a free download, were used twice to get this effect along with a free photo mask from French Kiss Collections Facebook page. Now the trick is to get this all connected together correctly. Check out Image 2 information below to get the steps on how this was done. Some quick points on using these photo masks. Try using the Free Transform on the different layers to line up your masks to your image or get rid of any edges from the image you see. Usually it is not the photo mask you think that is causing the problem – check out the others. Also, if you just cannot seem to get rid of the line from edge, try just painting in your original image with the background color to remove it. Photo masks can be made fairly easily by using some of the available brushes, like those from Shadowhouse Creations, or by using your own watercolor brushes on a layer. Just start by adding in some texture effects to your brush – can use a lower opacity and get a layered edge. Try using two different brushes together. I even made a couple by just using brushes in Corel Painter and opening the file in Photoshop – just needed to do a Select -> Color Range and in drop down choose Highlights so the whites are selected – then check the invert box. Add a layer mask to the brush layer, right click to apply the layer mask, and there is your photo mask. Now create a brush by using the Rectangular Marquee and placing around the strokes, and go to Edit -> Define Brush Preset. Actually not as hard as it sounds. The screen shot shows how this pretty basic image set up. (Click on image to see larger view in Flickr.) I created the photo mask using free Watercolour Brushes by Leyla – no. 1 and 6 at 30% brush opacity and using black as a color. Just left the edges lighter and painted more in the center area. The layer was duplicated and reduced in size to fit the image. When edges showed up on this image, the actual image was changed in size to adjust for them but also I had to sample the background to get rid of parts of it. The layer mask was used to make some of the lower flowers slightly pop out into the photo mask. You can always go back into the mask you created and paint in more color or erase some to fit the look you want. The interesting background texture is from Kim Klassen called deepsigh. Hope you get a chance to try this type of effect and maybe experiment with making your masks. This is really a lot of fun to do and I have to thank Nicole at French Kiss Collections for bringing this concept to my attention!…..Digital Lady Syd Digital Lady Syd Related Blogs: Just a Frame Flower
Image 1: How did I get rid of the reflections? In Photoshop I used my Chalk Brush (regular Chalk Brush 60 with the Angle Jitter set to 19% in the Shape Dynamics – can’t tell you how much I use this brush in place of a regular round brush!). At a lower brush opacity of roughly 30%, the colors were sampled from the image as I painted over the reflections. Next the image was opened in Topaz (see sidebar at my Tidbits Blog for website link) Impression and the Edward Hopper II preset was applied. A flattened version was created and opened in a new document. On a layer underneath the image, French Kiss Brayered Blocks 01 was added and a light pink Solid Color Adjustment Layer was clipped to it (ALT+Click between the layers to clip). Under that a mask another mask was added, Brayered Blocks 05, where a brownish color was used in another clipped Solid Color Adjustment Layer. On the original image a layer mask was added and with my Chalk Brush, the edges were brushed around the inside edges to get a rough looking inside frame edge. At this point a Group called Dewey Frame was created and collapsed to keep everything straight. (Highlight your layers and press CTRL+G to place in a group – then rename.) Upper text was added using 1942 report with an outer glow added. The text layer was duplicated and rasterized (right click and choose Rasterize) and the original text layer was turned off. Under the rasterized text layer, another mask, Brayered Blocks 12 was added and warped to fit underneath the text. French Kiss Chalkboard 2 texture was clipped to the actual brayered block mask layer, and a Solid Color Adjustment Layer was also clipped to this layer using a brown color. Another group was created called Upper Text Group. Just above the Background Layer French Kiss’s Tableaux Northern2Z texture was moved into the file. An image of the Epcot Ball was moved into the image above this texture and adjusted off-center. It had been previously turned into a black and white image and this layer was set to a 71% opacity. Clipped to this image only was a Curves Adjustment Layer and a blue to white Gradient Adjustment Layer at 52% layer opacity – this gave nice sharp edges to ball pattern. Now the layers involving the Epcot Ball selected and grouped together. The last steps involved adding the text for Epcot Center – this is the Prototype Community 25 little letter a. A layer style was added to the font – Inner Glow for the white edging (Choke 24% and Size 29 px), Color Overlay to get the matching center brSo here are the image details – there are lots of them here so skip down if this puts you to sleep. How did I get rid of the reflection? In Photoshop I used my Chalk Brush (regular Chalk Brush 60 with the Angle Jitter set to 19% in the Shape Dynamics – can’t tell you how much I use this brush in place of a regular round brush!). At a lower brush opacity of roughly 30%, the colors were sampled from the image as I painted over the reflections. Next the image was opened in Topaz (see sidebar at my Tidbits Blog for website link) Impression and the Edward Hopper II preset was applied. A flattened version was opened in a new document. On a layer underneath the image, French Kiss (see sidebar at my Tidbits Blog for website link) Brayered Blocks 01 was added and a light pink Solid Color Adjustment Layer was clipped to it (ALT+Click between the layers to clip). Under that a mask another mask was added, Brayered Blocks 05, where a brownish color was used in another clipped Solid Color Adjustment Layer. On the original image a layer mask was added and with my Chalk Brush, the edges were brushed around the inside edges to get a rough looking inside frame edge. At this point a Group called Dewey Frame was created and collapsed to keep everything straight. (Highlight your layers and press CTRL+G to place in a group – then rename.) Upper text was added using 1942 report with an outer glow added. The text layer was duplicated and rasterized (right click and choose Rasterize) and the original text layer was turned off. Under the rasterized text layer, another mask, Brayered Blocks 12 was added and warped to fit underneath the text. French Kiss Chalkboard 2 texture was clipped to the actual Brayered Block mask layer, and a Solid Color Adjustment Layer was also clipped to this layer using a brown color. Another group was created called Upper Text Group. Just above the Background Layer French Kiss’s Tableaux Northern2Z texture was moved into the file. An image of the Epcot Ball was moved into the image above this texture and adjusted off-center. It had been previously turned into a black and white image and this layer was set to a 71% opacity. Clipped to this image only was a Curves Adjustment Layer and a blue to white Gradient Adjustment Layer at 52% layer opacity – this gave nice sharp edges to ball pattern. Now the layers involving the Epcot Ball selected and grouped together. The last steps involved adding the text for Epcot Center – this is the Prototype Community 25 little letter a. A layer style was added to the font – own tone, and Drop Shadow (Opacity 34%, Spread 35% and Size 57 px). On a New Layer the I Love Donald Brushset for CS3 by xxxNightwingxxx-Donald brush 28 was used and an Outer Glow layer style was added using the pink color set to Structure Opacity of 62%, Spread 48%, Size of 6, Range of 83% and a Contour in a set called 50 Contours that I am having trouble finding the download link. The two text layers and were Grouped in a Donald and Text group. Last step involved created a stamped version (CTRL+ALT+SHIFT+E). Nik Viveza 2 was used to emphasize the Disney sketch in this image. A New Layer was added and with a round soft brush set to 250 px at 12% brush opacity, a couple large sweeps were painted over the upper text block as it appeared over-powering. A New Layer was created on top and French Kiss Spatter4-01 brush was selected – the Color Dynamics section of selected in the Brush Panel where the Foreground/Background Jitter was set to 49 and Brightness Jitter set to 54% and in the Shape Dynamics section the Angle Jitter was set to 40%. This gave the randomness of the spatters with color sampled from the image. This layer was set to 76% opacity and a layer mask was added where the spatters were removed from Donald and the Epcot Center text mainly. I could do this kind of image all day! Got to love Disney! Image 2: A new document was created – 7 inches x 7 inches at 300 ppi. The gondola is one first painted in Corel Painter and you can see the final image at my Hanging With the Gondolas! Tidbits Blog along with the specifics used in Painter. Next in Photoshop the image was opened in Smart Photo Editor (the settings used were: Applied Photo-art at a click o50 by andrewb2012 – Effect Controls: Master Fade all the way right; Multi-color Match 0.81, Exp -0.029, Highlight Clipping 0.254, High Clip Detail 0.044, Vibrance 0.673, Hue -1.000, Sat -0.312, Bright 1.156, Gamma -0.223, Contrast -0.085, High Clipl 0.421, High Clipl Detail 0.54, Vibrance 0.85, Hue 0.146, and Sat 0.265). Check out last week’s Digital Lady Syd Reviews Smart Photo Editor Photoshop Plug-In blog. This is the image that was later added to my file above. Above the background layer which had a golden tone added to it, French Kiss Dusky Rose texture was added and set to Overlay at 100%. A New Layer was created and with one click using a black Shadowhouse Creations Frame 1 brush which size was adjusted to fit the image, a block mask was created. Next a Pattern Fill Adjustment Layer was clipped to the block mask layer, and from 10 Free Seamless Colored Splatter Textures from Idealhut, Pattern o2 was applied. This pattern can be moved in the image to adjust it the way you it to look – I have used these patterns a lot over the years. Next French Kiss free Photo Mask was added, set to Screen blend mode, and a light creamy orange color Solid Color Adjustment Layer was clipped to the French Kiss’s photo mask. Shadowhouse Creations Grunge Brush 10 was added next and then the gondola image was brought in. Both layers were adjusted using the Free Transform (CTRL+T) – do the image first, then clip it to the Grunge Mask, and then adjust that to fit the image. A Hue Saturation Adjustment Layer was used to get the color just he way I liked them.
It has been a while since I did a review on a product that is totally new by a company I have never heard about but that is what I am doing! Anthropics Smart Photo Editor can be used as a Photoshop plug-in, although as a stand-alone program it is a fairly powerful photo editor in it’s own right. My interest is its use as a plug-in for all the special and crazy effects I love to use. This program definitely “fits the definition” with an incredible amount of variety! Even though I just bought the program, I thought I would pass along what I have learned, what I like, and what I do not like.
The top image was taken at the Orlando Airport at the Harry Potter Store using my Android. Here are the settings used for this image: Created a layer mask to mask the background. Then applied Soft colored texture 017 by andrewb2012 – applied it to just the background. Saturate and Glow was applied to just the trophy and books, and then applied Oil painting by Vivienne Li was applied to the whole image. Applied Stacked photos landscape format 001 by andrewb2012. See the screen shots below for some of the steps used.
The tree image was taken in Tennessee several years ago. It was first painted in Corel Painter and then in Photoshop the Smart Photo Editor was opened and just one preset called DJ Philip was used to give the final nice effect. (Here are the settings for the preset: Fade was about 2/3 of the way over, Merge 0.568, Filter 0.628, Radius 0, and Gradient 0.458.) The preset basically just darkened down the top part of image to direct the focus a little lower in the image – very subtle effect in this case. The results are added to your highlighted Photoshop layer by clicking File -> Save and Close.
Just another example of a very simple application of this plug-in – these day lilies were actually a very bright yellow but by taking this image into the Smart Photo Editor, an interesting effect could be achieved. The Bittbox-grungy watercolor01 border preset was applied. Back in Photoshop colors were tweaked a little more by using a Hue/Saturation Adjustment Layer and then doing a little painting clean up. Once again a very quick result that turned a rather ordinary flower image into something quite different. Below are two screen shots – the first showing the Effects Gallery and the second showing how a mask is created to selectively apply the effect. Click on the image for a larger view in Flickr. Just have to remember that if an effect does not look right, you need to Cancel and then click the Effects Gallery icon again in the upper right to select a different effect. The right and left arrow keys will advance the grid right or left if you do not want to click the big arrows with your mouse. To see your original image, press F5 and to see what difference from the last effect press F6.
What I Like About Smart Photo Editor:
1. The Effects Library with this wide variety of effects to apply to your image – there are Light, Color, Detail, Artist, Styles, Borders, Mood (weather effects), and Trendy effects that can be applied. It appears that the presets are obtained from the internet so when you open up the plug-in – thumbnails are created to show you want the different effects are. (See Gallery screen shot below.) A Search field aids with finding the effect you want. Also the best effects for your image appear first.
2. The ease with which the total effect can be applied – pretty much just a click or two for applying any preset. Also, there is a Favorites Recent Shortlists button that list the last 20 effects you used – very handy!
3. I really love the borders that can be applied. Ever since OnOne retired PhotoFrames, I have been at a loss to find really nice quick frame effects. This program fills that void.
4. That the program can be used as a photo editor for RAW files – you do not have to use it in Photoshop. It seems like an affordable way to process RAW files without owning the more expensive software to edit them. I checked this out on an image and it worked great with my Nikon camera NEF Raw file. There is an Image Treatment icon on the right side that has a whole bunch of basic image adjustment sliders like in ACR or Lightroom.
5. Can create your own presets for use over and over and can even upload them to the Smart Editor Community for others to use. Also, you can easily open up an existing preset to remove a border effect, for example, or add a different one in if you want to change it. This is really a cool concept!
What I Do Not Like About Smart Photo Editor:
1. Once an effect has been applied, as far as I can tell, you cannot try different effects on the original image to decide which you want. It stacks one effect on top of another one. I may be wrong on this, but so far I am having trouble doing this.
2. Sometimes it is hard to tell if the sliders are making changes when adjusted.
3. It is not easy to use the layer mask, but it actually does a pretty good job with a little practice – need to press SHIFT key to select other areas and ALT key will let you remove areas that got selected (turns it to the Erase From Selection button). I am not sure if the layer mask can be copied to another effect so you get the same mask unless you start out by selecting the Select Area button. Just not as easy as adding the layer mask in Photoshop and painting out what you want. Also I don’t believe there is an opacity slider for the brush so the effect is either in the image or not in the image.
4. Cannot be used as a Smart Object – not that big a deal but it would be nice to get back to your settings.
This is a pretty good plug-in to get, especially if you need a quick effect for an image. The image can be adjusted using all kinds of regular photo effects for color, vibrance, detail, etc. It also allows Overlays and Underlays to be applied with blending modes and opacity slider. The price is reasonable, especially when bought just as a stand-alone program. I totally love the bordering effects so for me it was a no brainer – get the plug-in!
This image was taken while on The Land ride in Epcot, Disney World, Orlando, and the fish were just a rather plain white color. The Smart Photo Editor was opened and presets were applied. (The Texture my world preset by andrewb2012 was applied. Next applied Watercolor, texture & vignette 001 by andrewb2012 – Master Fade just past middle, Merge 0.631, 3 Way Combine 0.277, Exposure 0.535, and Saturation -0.151. Selected to add mask and painted off effect from middle fish.) Then in Photoshop just some Sharpen Tool to the eyes was applied. I thought this was a very interesting effect that took just a few minutes to create.
I would suggest you download the trial and check it out. If you download it, they have a very nice website with several tutorials and a community forum. I would suggest you watch this 2:46 minute video for a brief introduction to the program and one I found most useful before starting. It is called The Fisherman Enhancement (2nd video down) and goes through most of the main features quickly. Anthropics had a very good price offer going recently and I am sure they will be offering it again with the holidays nearby. I was pleasantly surprised how versatile this program is and will be presenting more of its effects in the weeks coming up.
Hope you get a chance to experiment with this interesting plug-in. It might be something that you will really like!….Digital Lady Syd
Since a lot of people would like to get a painterly look on some of their images, but not go to the expense of getting Corel Painter or feel they do not have the painting skills needed to get a nice result, I have decided to show you what can be done with just a few Topaz plug-ins and Nik Viveza 2. I am going to go through the different steps and how the layers appeared to get the above result. You may not have all the plug-ins used, but often there are ways to get the same feel without using the plug-in by just taking a few extra steps.
The image above was cropped as a last step, so the workflow follows the original sized image.
1. First need to download the image from Free Images (used to be Stock.Xchng and image is linked). They have several different shots using this basic site so feel free to explore this great website. See original image on left below.
2. The original image was not in a color scheme that I liked so the first thing done was to change the settings in the Camera Raw filter to get some colors more suitable to my liking. On a duplicate layer that was converted to a Smart Object so it can be edited if something looks wrong, changes were made. (These settings were changed: Temperature +15, Exposure +0.40, Contrast +12, Highlights -19, Shadows +11, Whites +5 and Blacks -12; then adjust in this order Hue Reds +11, Oranges +41, Greens -33, Aquas -62, and Blues +20; Luminance Reds +6, Oranges -34, Yellows +51, Greens +2, Aquas +1, and Blues -7; and Saturation Reds -29, Oranges +10, Yellows, +58, Aquas -26, and Blues +23.) Results are shown in right image below.
3. Next step takes the right image into the Topaz (see sidebar in my Tidbits Blog for website link) ReStyle plug-in where the Cool and Clear preset was applied first. (These settings were used: ReStyle Opacity 78%, Lum Third 0.34 and Fifth 0.45; Basic Opacity 81%, Color Temp 0.13, Tint -0.16, and Sat 0.33; Tone Black Level 0.27, Midtones 0.34, and White Live -0.03; and Detail Structure 0.64 and Sharpness 0.59. Wanted the water to have more blue tones and overall a little less beige look.) If you do not have the plug-in, try using the Hue/Saturation Adjustment Layer or Selective Color Adjustment Layer to get somewhat of a similar look. I consider ReStyle to be a very unique plug-in and it is one of my favorite Photoshop plug-ins. I kind of liked the blown-out feel in this layer as shown on the left below.
4. Now it was time to go into Topaz’s newest plug-in, Impression. Started with the Abstraction I preset. (These are the settings used: Stroke Brush 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 0.26, and Coverage 1.00; Color Overall Hue 0.15, Overall Saturation -0.20, and Overall Lightness 0.06; Red Saturation 0.47 and Red Lightness 0.14; Orange Saturation -60 and Orange Lightness -42; Yellow Sat -0.33 and Yellow Lightness 0.13; Green Saturation -0.20 and Green Lightness -0.32; and Blue Sat 0.36; Lighting Brightness -0.04 and Contrast 0.39 – X 0.33 and y 0.06; Texture Strength 0.78, Size .30, Canvas IV and Background Color #d38967, a light orange color.) I can honestly say this does not really look that great but it has the stroke effects that make this plug-in’s effects so great. By adjusting the Stroke Width and Length, you can get a fairly good approximation of having actually painted the effect into the image. I believe there are other art programs that could be used for this step like Alien Skin’s Snap Art or Dynamic Auto-Painter, but it has been my experience that they will result in a very different result, not particularly bad, just different.
5. The sky color was painted in with a sampled color from the water and using just a basic brush – this was one of my basic Photoshop pastel brushes. You can always clone some of the strokes from the water into the sky to get a nice stroke replica effect. A Levels Adjustment Layer was used to add contrast back in the image – adding filters and textures often causes a contrast loss. (The settings were Black tab 7, Middle tab 0.89, and White tab 254.) Looking better now.
A texture layer from Painted Textures was added to image called Green Lake (set to Hard Light blend mode at 33% layer opacity). A Color Balance Adjustment Layer was added to try to reduce the strong color shift from the blue-green-yellow texture (settings were: Highlights Magenta/Green -13 and Yellow/Blue +16, Midtones Cyan/Red +13 and Yellow/Blue -3, and Shadows Magenta/Green -3 and Yellow/Blue +10). See left image below.
6. Thought I would try to get it this image to look like my previously painted Corel Painterversion of this image (see my Venetian Dreaming….). Therefore Topaz ReStyle was opened once again and this time the Cream and Plum preset was used (one of my favorite presets). (Settings were Cream and Plum preset to start – ReStyle Color Style Sat Fifth -0.53; and Lum Primary 0.13, Secondary -0.19, Fourth -0.42, and Fifth -0.44; Texture Strength -1.00; Basic blend mode Color; Color Temperature 0.36, Tint -0.41, and Sat -0.06; Tone Black Level 0.16, Midtones -0.34 and White Level 0.42; and Detail Structure -1.00 and Sharpness 0.19.) As you can see on the right image below, a much more beige palette was introduced.
7. Added a White Color Fill Layer set to Color Blend Mode at 64% layer opacity and filled the mask with black (CTRL+I in mask to invert). Painted back at 30% brush opacity some of the areas that needed some white color but looked beige – mainly on the boat, bridge, sky and in some of the water reflection. Then Nik’s Viveza 2 plug-in was used to help emphasize the focal point, the boat and bridge in the image. 7 control points were added – sharpening and color increased around the boat and bridge area, and the Structure slider was decreased on the painted areas to give more of an actual painterly look. It did help smooth the sky quite a bit. See image on bottom left.
8. Now how did I get the image on the bottom right? Well, a Topaz plug-in I had not used in quite a while. I really liked the tones in the Corel Painter image done in my Tidbits Blog and the best way to get those tones into my image is to use Topaz photoFXlab’s InstaTone. By opening the plug-in and starting InstaTone, the Painter image’s folder was selected and the tones were added directly my Topaz layer. Totally loved the final look! What is so great about this plug-in is that the same brushes from several of their other plug-ins are available and can be used on masks within the plug-in. Therefore Detail, Smoothing, Dodging and de-Saturating could all be done on one mask. Basically the image can be sculpted to get a pretty artsy look without really painting at all. (Here are the settings used: On duplicate layer in photoFXlab, applied the original image from Corel Painter tones using InStaTone. In Adjustments Blending Mode to Color, Contrast to -100, Dynamics 27, Highlights 31, Shadows 11 and Blacks -18. On a From Stack layer on top, went to Brushes and set Smooth/Detail Strength to 0.49, Brush Size 0.09, Hardness 0.22, Flow 1.00 and Edge Aware 0.98 to add Detail to the boat and bridge, my focal point. Next changed Strength of brush -0.81 to smooth and painted over all the buildings which gave a very subtle softening to the edges of the windows and roof lines. Next selected the Burn/Dodge brush – wanted to dodge a little lightening into the distracting windows. Set Strength to 0.18 and Brush Size to 0.02 and with a very soft stroke, paint on the strong black lines and edges of windows to just slightly soften the distracting lines. If you mess, use the Undo Arrow up at the top of image. This gives a really painterly feel to the image. Set Saturation to -0.68 and painted out the overly bright little turquoise boat in front of the main boat by setting Strength to -0.68.) For more on this plug-in, see Digital Lady Syd Related Blogs below. Hope I did not lose everyone on this one! I have talked about using these brushes in other Topaz plug-ins so there is no reason they cannot be used for a similar result.
The last step involved just cropping in Photoshop to get the top image – still not sure if I like the cropped or uncropped version best or whether I like the more beige color tones. That what makes it interesting!
I just wanted to show everyone that some really great results can be created just by stacking plug-ins and masking and adding Adjustment Layers in Photoshop to get some pretty fantastic results. This was a lot of fun to experiment this way – I am finding I do not have to paint in just one way. And knowing me, this is all going to get mixed up into the painting style I have been trying to develop this year. Wanted to give some basic guidance on the settings for these plug-ins since it can get confusing as how to actually use all the plug-in sliders. Until next week, keep trying some new combinations!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Digital Lady Syd Reviews Topaz ReStyle
Digital Lady Syd Speaks Out on Topaz Impression
Digital Lady Syd’s Review of Topaz photoFXlab v1.1
InstaTone in photoFXlabs – Great Fun and Great Results!
How Topaz Black & White Effects Can Create Some Surprising Results! – Check out the Settings for Images 2 and 3 at bottom for info on its mask brushes
Since I had a pretty busy week with company, just thought I would post a couple images. This one is of a beautiful little girl who was dancing with the adults at the Native American Festival earlier this year. Totally enjoyed the event once again! For this image a selection was used to remove her from the background (used Photoshop’s Color Range and then cleaned up the resulting layer mask) and next ReFine Edge to fine-tune the feathers (set Radius to 7.2 and Shift slider to -3). Painted Textures Spring Rain texture was placed over the image and a layer mask was added to paint in the little girl. Photoshop’s Flat Fan Thick Stiff Wet Edge brush (located in Photoshop’s Wet Media Brushes group) was used to do this and to paint on several additional New Layers. A smaller sized Mixer brush was used to smooth the facial skin hard edges. The last step used Nik’s Viveza 2 with a control point placed on the little girl to make her pop out a bit from the background and 6 other control points to adjust the coloring to look just right.
I know that Corel Painter does a fabulous job on painting images, and I am working hard on learning it, but sometimes I like a more realistic painted feel by using Photoshop and its Regular and Mixer brushes on different layers as shown above.
This is an image taken from the Living With the Land ride at Epcot, Disney World Orlando. Just enjoyed playing with different filters to see if I could make it into something I liked. No painting here. In Lightroom used Seim’s (see my Tidbits Blog sidebar for website link) PW4 Magic Portrait preset and actually went into the Lens Correction Manual and changed the Distortion, Vertical Horizontal and Aspect sliders which resulted in some extra white space on the left side and bottom of the image. Next opened up the image in Photoshop CC 2014 with the new advanced Content-Aware Fill command which did a wonderful job of adding into this area of the image. I do not usually use this version since the regular CC still lets me use my flash panels. Topaz (see my Tidbits Blog sidebar for website link) Detail 3 was opened and my SJ Text preset was added. (These are the settings: Overall Detail – Small Details0.08, Medium Details 0.20, and Large Details 0.08; Tone Exposure -0.60, Contrast 0.25, Highlights 0.10, Shadows 0.05, Whites 0.10, and Blacks 0.05; and Color Temperature 0.10, Tint 0.03, and Saturation 0.10.) On a stamped (CTRL+ALT+SHIFT+E) layer, the Nik’s Color Efex Pro 4 was opened and three filters were used: Midnight using a Neutral Color Set at 93% opacity, Darken/Lighten Center at 59% opacity, and Detail Extraction with Detail Extraction slider at 65% and control points set on each of the flowers only. I liked what I was seeing at this point but still decided to do some more changes. Several clean up layers were added and then Nik Viveza 2 was opened up to add some extra contrast to the flowers. Next my free Cat Painting Canvas was set to Overlay blend mode on a layer above. And just because I could, Topaz ReStyle was opened and the Dark Goldenrod preset was added with no changes. The tone in the image turned out to be just right. A text layer was added using a font called Ruthie and set to Bevel and Emboss and Outer Glow layer style. It was 27% layer opacity.
It was fun to just play in Photoshop for a change. It seems that there is so much to learn that it is easy to forget to create and have fun. Until next week, have a good one creating!……Digital Lady Syd
Since I recently went to Epcot and got a few images, I have been having fun trying out Topaz (see sidebar at my Tidbits Blog for website link) Impression on them. I am finding that when an image is maybe not in perfect condition, but you want to use it as a nice remembrance of your experiences, this plug-in does an amazing job of helping control the bad and bringing out the good. The level of realism you want added back into your image can be controlled by just applying a layer mask in Photoshop and erasing out any overdone areas. The artistic element can also be controlled to just the extent that you want by using either two different presets stacked on different layers in Photoshop, or just using one preset and adjusting the layer opacity or blend mode, or adding adjustment layers on top. This really has a similar feel as if you are adding texture to an image. I have to admit this is one of my very favorite images I have taken at Disney World. This was a window display and there was so much glare everywhere. In Lightroom Seim’s (see sidebar at my Tidbits Blog for website link) Super HDR X and RadiSpot presets were applied. A lot of clean up was done right in Lightroom using the Adjustment Brush – 5 areas were selected and adjusted. In Photoshop the background layer was duplicated three times and each of the new layers were taken into Topaz Impression. First my Charcoal I Slight Colors preset was applied (here are my preset settings that started with Topaz’s Charcoal I: Stroke: Brush Type 08, Brush Size 0.58, Paint Volume 0, Paint Opacity 0.38, Stroke Width -0.18, Stroke Length 0.23, Spill 0.24, Smudge 0, Coverage 1.00; Color: Red Overall Saturation -1.00, Red Saturation 0.50, Orange 0.31, Yellow Hue -0.03 and Saturation 0.54, Green Saturation -0.32, and Blue 0.64; Lighting Contrast 0.19, and Light Direction x0.51, y0.51; and Texture Strength 0.24, Size 0, Paper I texture, and white background color) and set to Multiply Mode in Impression; on next layer same preset without changing the mode to Multiply; and on the top layer the Da Vinci Sketch I preset was applied with no changes. By adding layer masks to both of the top two filter layers, the areas with color could be painted back just the way I wanted it to appear. I discovered it does seem to make a difference whether you change the blend mode in the plug-in or on the layer in Photoshop – so try both ways if you do not like the way it looks. Then two clean up layers were created to paint over parts of the image. Another cleanup layer involved using the Sharpen Tool on the face to draw the eye to his face eye. The last step was adding 50 free photo art borders 18. (By going to Select -> Select Color and choosing Highlights, you can select the whites – then add a layer mask and apply it. Now by adding a Color Fill layer clipped to the border, you can change the color from white easily.) Well this image turned out really different – this is a guy that was doing a glass blowing demo at the Mexican Pavilion at Epcot-Disney World Orlando. This was a very dark image to begin with and after adding Seim’s PW4 Magic Ugly Shade Fixer preset and doing the Shake Reduction filter in Photoshop, it was opened up in Topaz Impression. Used my SJ Colored Pencil preset and got this kind of crazy color thing going, but I really like it. (Started with Colored Pencil II preset and ended up with these settings: Stroke Brush Type 07, Brush Size 0.90, Paint Volume 0.77, Paint Opacity 0.20, Stroke Width -0.82, Stroke Length -0.25, Spill 0.26, Smudge 0.16, and Coverage 1.00; Color Overall Sat 0.37, and Red Hue 0.78, Red Sat 0.32 and Red Lightness 0.28; Lighting Brightness 0.21 and Contrast -0.40, Light Direction X: 1.00 and y: 1.00; and Texture Strength 0.33, Size 0, Paper I texture and white background.) (See my New Impression of Octopus and Seahorse Tidbits Blog for another example of this preset.) It has a poster feel to it. Then the clean up layers were added. One for fixing the blown out yellow flame – added just a touch of color to it. And the second to remove some white dots that appear around the image. There are still a few that are apparent, but they don’t stand out as major artifacts. A Curves Adjustment Layer was added on top and that was it. Another image from Epcot of a store display on the World Showcase. I just liked the feel of the Venice exhibit so I thought it was worth a shot. In this case. the image had to be tilted manually using the Vertical Slider in the Lens Correction Panel in Lightroom. Also applied a very nice free preset from Nicolesy called Autumn Fresh and some Radial Filters on the overly bright spots in the image before going into Photoshop. On a duplicate layer, Topaz Detail 3 was opened and a preset I created a long time ago called Text was applied. (These are the settings: Overall Detail – Small Details0.08, Medium Details 0.20, and Large Details 0.08; Tone Exposure -0.60, Contrast 0.25, Highlights 0.10, Shadows 0.05, Whites 0.10, and Blacks 0.05; and Color Temperature 0.10, Tint 0.03, and Saturation 0.10.) I usually just try different presets in this plug-in until I get the sharpness I like. This layer was duplicated and Topaz Impression was applied using my Charcoal I Slight Colors preset (same as in first image) but changed some of the settings. (Here are the settings for this image: Stroke Brush Type 08, Brush Size 0.58, Paint Volume 0.64, Paint Opacity 0.23, Stroke Width -0.18, Stroke Length 0.23, Spill 0.24, Smudge 0, and Coverage 1.00; Color Overall Saturation -1.00, Red Sat 0.50, Orange Sat 0.31, Yellow Hue -0.03 and Sat 0.54, Green Sat -0.32, Blue Sat 0.64, Purple Sat 0.59, and Magenta Sat 0.94; Lighting Brightness 0, Contrast 0.43, Vignette 0, Light Direction X -0.14 and y -0.04; Texture Strength 0.47, Size 0, Loose Weave-3 and Background color an off-white (#ebecee); set to Strength 0.66.) On a duplicate layer used Nik Viveza 2 to pop up the colors back in the center of the image, but the Radial Filter in Photoshop’s Camera Raw Filter would work the same. Control Points were added to the globe light which was too bright and was drawing the eye off the image and the window in the lower left. Another point was placed in the middle to lighten up the center and direct eye towards the tower and boat on left side of exhibit. Did a clean up layer and darkened out the bottom edge and bottom right window light. A Curves Adjustment Layer was added as a last step to add just a little contrast back into the image. I feel that I am starting to figure out what effects I really like in this plug-in. It has been fun doing this since my time has been limited recently. It has been a long time since a new plug-in has been released with some different effects. Will catch ya again in a few…..Digital Lady Syd Digital Lady Syd Related Blogs: Digital Lady Syd Speaks Out on Topaz Impression More Painting with Topaz Impression Painting a Painter
Since I am having a pretty busy month, thought I would just pop in with another short post on this interesting new plug-in – definitely a fun one to try out on different images. The above was the sign that greets you upon entering Epcot during their Food and Wine Festival at Disney World Orlando. It felt like it should have a more painterly look to it, so I pulled Topaz (see sidebar at my Tidbits Blog for website link) Impression out to try to get the effect. Since the image really did not really lend itself to something I wanted to paint, Impression just might give me the feel I wanted quickly.
This was a pretty simple workflow. In Lightroom Seim’s (see sidebar atmy Tidbits Blog for website link) Power Workflow 4 Super HDR and Tint Golden Sepia were used. In Photoshop the Shade Reduction filter was then applied. This image did not need to be so sharp (in which case I always use Topaz Detail 3) since the painted feel does not require it. Duplicated the layer (CTRL+J) and just selected the background from sign foreground and created a layer mask. Then duplicated this layer and inverted the layer mask be CTRL+I in it – now the foreground was selected. On the bottom masked layer, Topaz Impression was opened and the SJ Colored Pencil preset was selected (see preset settings in my New Impression of Octopus and Seahorse) – then changed the Red Hue to -0.54, Red Saturation 0.31, and Yellow Hue 0.13. Back in Photoshop the foreground layer was selected and taken into Impression – this time Chiaroscuro II preset was chosen but the Lighting Brightness, Contrast, and Vignette were all set to 0. Back in Photoshop again, the layer with the background showing was duplicated and placed on top so that a Gaussian Blur set to 6.1 could be applied to make the trees just slightly out-of-focus. On some New Layers clean up was done – mainly getting some color into Mickey’s face so he was the focal point and to smooth the paint where some splotchiness appeared from the Chiaroscuro preset. Mickey still did not stand out quite the way I wanted him to, so a Curves Adjustment Layer was added with no settings – just filled the mask black and changed the blend mode to Multiply. Then with a white brush set to 30% brush opacity, Mickey was painted back to make him stand out. I liked the way two different presets in Impressions produced this interesting result. And got to love Mickey!
This charcoal of a hotel on the beach in Ormond-By-the-Sea near Ormond Beach, Florida, was created using Topaz Impression’s Charcoal I preset – it is the first one that comes up in their Favorites preset grouping and it sort of just popped out at me. I would never have made it a charcoal if I had not seen it applied in the thumbnail. This is what I like about this plug-in – it gives you some new ideas on what can be done with your images. I did not make any changes to the preset. I did add a New Layer on top and with a brush created in Photoshop, some of the shadows were in the foreground beach area were emphasized. This brush was created from one of Melissa Gallo’s Pencil Sketch Brushes provided with her Painting in Photoshop Workshop – just did some tweaks and sampled some color in the image to add a pencil-stroke type feel. (This is a really good set of videos by Melissa.)
This windmill was painted using Topaz Impression and following a very short interesting You Tube video by Blake Rudis called Topaz Impression Mixed Media. I am not sure I like this particular combination of media on this image, but I wanted to try out his example. It is a similar workflow to the one in my first image, but Blake did a nice job of presenting his specific workflow. If you want specifics of what each slider does, Blake did an introductory video called Topaz Impression Review & Tutorial and I found it very helpful. Also Michael Hardisty did a really nice overview in his Topaz Impression – Release the Artist blog on the program and some different examples of other effects presets.
I really like the plug-in the more I am using it. As Blake says, it is different from the other programs out there. If you like the artistic feel, it is definitely worth a trial download. I think it does the nicest charcoal emulation that I have seen. Try downloading the trial and see what you think. Hope you have as much fun experimenting as I have been!…..Digital Lady Syd