This week I am going to just show a couple tricks about how to get this more illustrative look and how to use an overlay from a texture to get a nice effect. This is a beautiful Palm Tree that was growing in West Palm Beach at the hotel. It had a really green background and detail that was making it hard to separate the tree out. So this is how I got what I consider a rather nice effect.
So I am going over the basic workflow which was used on both this image and the foxes image below. Most of these steps I have covered in recent blogs on how to do them so I will direct you to them if you need to refer back.
- This image was adjusted using Adobe Camera Raw – just changed several Basic sliders. Lightroom was used in the second image changing only the DeHaze, Highlight and Shadow sliders and removing a little Noise.
- In Photoshop the bottom layer was duplicated by clicking CTRL+J (if opened as a Smart Object, which preserves your ACR settings as with the image above, need to right click on the top layer and select Rasterize Layer to remove the Smart Object).
- This time Topaz (see sidebar at my Tidbits Blog for website link) Detail was used on the top image and Topaz Clarity on the bottom layer to just sharpen up the details. Any sharpening method works fine but start with a sharp image and remove the detail later if needed. (See my Digital Lady Syd Reviews Topaz Detail 3 blog and my More Clarity on Topaz Clarity blog.)
- The Foxes can easily be removed from their distracting background, so at this point Topaz ReMask 5 was used, but any selection tool would have worked fine. (Try using the Quick Selection Tool, Magic Wand, or Quick Mask with the Refine Edge Command.) This would have been an impossible task with the Palm Tree image at this point. (See my And the Best Complicated Selection Tool Is? blog.)
- Next the free JixiPix Spectrel Art was used on both images. The Palm Tree used the Dark Edges preset and the background was painted out using the Erase Brush in the plug-in. For the Foxes, the Topaz ReMask layer is opened in Spectrel Art and Dark Lines preset was used. Those two presets seem to be my favorites. Both image were set to Screen blend mode on this layer in Photoshop. (See my How To Use the Free Spectrel Art Plug-In.)
- Now the newly free Nik Color Efex Pro 4 is used on both images. The Palm Tree used these 4 stacked filters: Film Efex: Vintage using Film Type 6, Glamour Glow, Lighten/Darken Center, and Color Set Monday Morning using Neutral. This gave the image a bit of nice glow in the image. The Fox image used the same first three filters (Film Efex: Vintage used Color Set 14) but the last one used Detail Extractor set to 20%. ( See my Digital Lady Syd’s Review of Nik Color Efex Pro 4!)
- Now clean up layers were used on both images. For the Palm Tree, a New Layer was created and just sampled the background area and painted around where the distractions were. Brush used was a free brush from Ditlev Fine Art Br Vol1-SB 6 13 – nice texture at a lower flow and just built up the effect so it looks somewhat painterly around the tree fronds. For the Foxes, used a chalk brush at very low opacity to reduce lines that were distracting and emphasized the head of the foxes which is the focal point.
- Now the overlays are used. For the Palm Trees, the French Kiss (see sidebar at my Tidbits Blog for website link) Artiste Bold Brush 2 texture was opened in another document. By going to Select Color and choosing Highlights and the check the Invert checkbox, a selection of only the color was created. Close the dialog and add a layer mask to the layer and the whites will be deleted from the image. I recommend using a texture with lots of grain and color to get an interesting overlay look. Now this layer can be saved as a PNG file to be used again. It was placed into the Palm Tree file and a Hue/Saturation Adjustment Layer was clipped to the layer (ALT+click between layers) to get the light turquoise color on the overlay. The layer opacity was set to 74%. This is one of my favorite overlays – I like for my image to show through better and it does not require a blend mode which can change the colors or the light values in the image. A layer mask was used to lightly remove some of the texture off the Palm Trees. The Foxes used the exact same process – this time two different textures were used from 2 Little Owl’s Studios (see sidebar at my Tidbits Blog for website link): Stained Glass 14 with the Highlights removed in Select Color at 32% layer opacity; and Starry Night 5 which used only the darker areas and was set to 84% layer opacity. (See my How to Create an Overlay Out of a Texture blog.)
- Now an extra step occurred in the Foxes image, mainly some lightening and darkening Curves Adjustment layers to differentiate the right fox head from the back of the left fox. (See my How To Use Curves Adjustment Layers to Dodge and Burn an Image blog.)
- Next Topaz Lens Effects was applied to both images where the Reflector filter using a Gold preset – this directed the lighted the light from a certain direction to give both images a warmer feeling. Just fiddle with the sliders until it looks good. If you do not have the plug-in, use Camera Raw Filter’s Radial Filter and add a touch of yellow Temperature and a little Exposure and make a big circle half off the image to warm up a side a little bit. (See my Topaz Lens Effects for Some Image Fun! blog.)
- New Layers were created in both images and just a little speckle brush was used to paint in around the trees and foxes to give a more painterly effect. The layer opacity was set to 60% so as not to look too fake.
- For the Fox image, a final step of adding French Kiss’s Sponged Edge border overlay to further give a little painter effect to the border. A Gradient Adjustment Layer was clipped to it that contained a warm orange to a gold gradient. The Gradient Adjustment Layer opacity was set to 36% and the Border was set to 35% layer opacity. Very subtle.
These little Fennec Foxes were taking a snooze at the West Palm Beach Zoo on a sunny day. I was trying to give the impression that they were having wonderful dreams. I know the workflow above is a little extensive, and there are several different ways you can improve upon the effect. Still, I personally like that part photo – part illustrative look you can achieve with the various filters. And most can be reproduced with Photoshop and free plug-ins. Of course I am still a big Topaz fan, but there are always other ways to get a similar look.
One of the things I hope you try is Step 8 above. If you have some favorite textures, try removing a color out of them or highlights or shadows – this can really give a unique feel to an image and I do prefer a good PNG file over a JPG texture many times. Hope everyone is enjoying the beginning of summer!…..Digital Lady Syd
This week I thought I would cover a little trick that I learned from Photoshop guru Corey Barker in his Master FX Trick Shots video section called Abstract Shape Effect. Corey added several other elements to his tutorial, but the basic framing concept is pretty cool. The image above was taken of a Siamang Ape at the West Palm Beach Zoo and I am sure he runs this zoo! He was climbing up a huge tree in the middle of the zoo to announce in a rather commanding call the opening of the Zoo!
To do this technique you need to decide first how the main subject should be set up in the image, what texture(s) is to be used, and finally find a really nice brush or PNG file for framing your subject inside.
Workflow for Framing Effect
1. Clean up image in Lightroom or ACR and Photoshop as needed.
2. Choose a texture to place behind your image. In this case I selected a texture I had created a while ago. (For instructions on how this was done, see my How to Use Those Handy Blend-If Sliders! blog.) The very organic nature of the texture blended well with the image being blended into the texture.
3. For the framing effect, a black layer mask is needed – to get a black mask: either hold down the ALT key when clicking the layer mask icon at the bottom of the Layer Panel, or just add a white layer mask and click inside it, then press CTRL+I to reverse the white to black.
4. Below are a couple ways to get an interesting frame are:
- You can paint your subject back in with a white brush using a smaller brush with a rough edges. Try painting not just at 100% white or black – use a 25 or 30% brush opacity to get some nice rough edges. A basic Photoshop chalk brush can give some interesting edge results.
- Try using a large brush that requires just one or two nice dab stroke. The watercolor brush strokes can make some good marks in your layer mask. If the stroke does not look like it is lining up correctly, change the size and the angle of the stroke by just dragging in the Brush Panel Brush Tip Shape circle with the arrows and set where you want. it may tape a bit of experimentation to get this set just right. Here are a couple sets of free brushes that have some nice dabs for framing effects: Spoon Graphics Watercolour Set 1 with 7 brushes, and Big Brush Strokes for Frames by Doodle Lee Doo with 53 brushes. For the above image, French Kiss’s (see sidebar at my Tidbits Blog for website link) Dry Brush No 1-10 was used.
With vector objects or PNG files (this is a little harder to do but is nice if you have a certain object to place over the subject in mind):
Go to Adobe Bridge and find the file you wish to apply to the layer mask. Go to File -> Place -> Photoshop – it does not matter where it is loaded in the PS file as it will be deleted. Adjust the object to fit approximately where you want it in your image. CTRL+click on this layer to select the object, highlight the subject layer and click on the Layer Mask icon at the bottom of the Layers Panel. You may see something that looks rather messy – at this point, delete the original object file you just brought in as it can conflict with the mask you are working with. Take a small chalk or round brush and maybe add some Shape Dynamics Angle Jitter of 20% to add variation on edges and paint with white – your subject will show up. Use a lower brush opacity if you want a more blended edge look. If it is not in the correct place, you can CTRL+T on the mask to Free Transform it – can flip or stretch it. Just build up where you want the subject to be seen clearly.
There are so many things you can do with this type of framing. Make part of your image come out onto the frame like the trees do in the above. The image below used both of the free sets of brushes and a free texture called Happy Easter which matched the colors in the butterfly nicely. This time the subject Butterfly Topiary at the Cityplace in West Palm Beach, Florida, was cut out using Topaz (see sidebar at my Tidbits Blog for website link) ReMask5. It was placed on top of the background and another texture I painted in Painter. On the Painter layer, the free brushes were used in the layer mask to get the unusual effect. On the Butterfly layer an Inner Glow layer style was added – the Contour was changed to get the little line to go around the butterfly. Just a lot of playing with different Layer Styles and brushes to get a result I liked. The Butterfly image looks a lot different, but used the same workflow.
This week is yet another Photoshop plug-in that I am really excited about using. If you have followed plug-ins for years, you know that Lucis has always had some of the best effects ever made. Lucis Pro 6.0.9 has been reduced in price to $30.00 now and that makes it very manageable. (Now priced at $6 until August 31 st when site closes – see my more recent blog How to Get a More Illustrative Look with Lucis Pro 6.0.9.)I had to get it! Now what to do with it? Marilyn Sholin, another wonderful Corel Painter Elite, has provided us with a very short video on how to use this filter – it is not that hard and gives a wonderful pop to your images. See Sholin Lucis Pro video for tips on using this filter and an additional discount code. The Tri-Colored Ginger plant taken in West Palm Beach used this filter at the end of the workflow as Marilyn suggests – either at the beginning or the end.
Below is the original (left image). For middle image, the plant was selected using Topaz (see sidebar at my Tidbits Blog for website link) ReMask. Topaz Impression’s Cezanne II preset was applied to just the selection, one of my Corel Painter textures was placed underneath, Nik Viveza 2 (now free) was used to emphasize the center focal point, and a Black and White Adjustment Layer was used to just adjust the tone of the image. Topaz ReStyle was used to add more of a pink color palette (see right image) and a Darken Detail layer was created to emphasize some of the lines in the plant. For final step to get image above, Lucis 6.0.9 was applied and the colors really popped nicely. (Settings used – Enhance Detail: Red Channel 199/Green Channel 155/Blue Channel 203. Mix with Original Image 39% Processed and 61% Original.) For more info on how to perform other steps, see Digital Lady Syd Related Blogs below.
Here is another example of the result that can be achieved with this very good plug-in. This image is of the Drawing Room in the 55-room mansion of Henry Flagler that is called the Flagler Museum or Whitehall. Wonderful place to visit!
In this case Lucis Pro was applied close to the beginning of the post-processing in Photoshop, right after removing a little noise and the ropes at entrance to the room. (See image below for original as brought in from Lightroom.) Then Lucis Pro was applied using these settings: Enhance Detail Channels – Red 51737/Green 44631/Blue 35165 – large numbers due to the fact the image was in 16-bit mode; Mix with Original Image – 43 % processed and 57% original. This really brought out the detail in all the small items in the room without making the image look crunchy. I found this pretty incredible! The effect can be as subtle as you want. The results look pretty subtle here, but at 100% magnification, the difference can be seen very clearly.
There is a nice PDF Manual that is downloaded with the plug-in which takes you through all the different sliders and what they mean. For me, to get the best results:
- Click the Split Channels box on.
- Uncheck the Display Composite box.
- Adjust the Enhance Detail sliders for each channel to get a good black and white result in each channel. The Smooth Detail sliders are kept at 1.
- Turn on the Display Composite Image checkbox. Sometimes the colors will look really bad at this point. If there is a color shift that you do not like, move the Assign Original Image Color slider to 0% Processed/100% Original.
- Go back and adjust the Enhance Detail sliders in each channel to make the colors and amount of details just right.
- If the results are a little over-cooked, adjust the Mix With Original Image slider which will pull back in some of the the original image.
There are several other sliders and fields in the interface that I did not use but the manual does a good job of explaining all their functions. Check out their User Interface page. The above workflow is basically what Marilyn Sholin goes over in her video and seems easy to use.
This beautiful white gardenia was taken at the Harry P. Leu Gardens in Orlando, Florida, and was my first attempt at using this plug-in. I did not want too much color in the flower, only a touch. (Settings used: Enhance Detail: Red Channel 129/Green Channel 125/Blue Channel 95. Mix with Original Image 70% Processed and 30% Original.) It is not that important that you understand all the mechanics going on under-the-hood, just experiment with the sliders and the image will eventually look really good. This seems to be a handy plug-in to use, especially when that little bit of extra detail is needed. I have even used this plug-in after applying my favorite Topaz Detail 3 – they work fine together. Here is another technique used to get this Lucis effect shown in my The Sculpture Called Reaching Tidbits Blog.
I just noticed I am not sure there is an option to try out this plug-in first which is too bad. I have always loved the Lucis filters but was unable to afford them. I am so happy they have reduced their price on this one as it is so much fun to use and does a very good job with both detail and adding a little color into an image. Hope you are enjoying the Spring!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Digital Lady Syd Reviews Topaz ReMask 5
Nik’s Viveza 2 Plug-In – A Hidden Gem!
Applying a Filter to Objects on a Layer
How To Use a Black & White Adjustment Layer to See Contrast In an Image
Digital Lady Syd Reviews Topaz ReStyle
The Best Dodging and Burning Technique!
Had a blog glitch but finally got this one up. I have to thank Corel Master Elite Karen Bonaker for this wonderful find – a really fun free plug-in called Spectrel Art from JixiPix. My initial impression was this can’t be that good if it is free. I was pleasantly surprised. What is really cool about this plug-in is that it uses a brush where you can either localize the effect by brushing it in or erasing it.
This is very similar in effect to Topaz Glow which is one of my favorite special effects plug-ins. Both plug-ins usually need a blend mode change. Once in Photoshop, the above Spectrel Art layer was set to Luminosity Blend Mode at 44% layer opacity. In the Topaz Glow image below, the layer was set to Soft Light blend mode at 50% layer opacity. The effect can be way too strong if left at 100% layer opacity – add layer masks if you want to further localize the effect in Spectrel Art. Topaz Glow does not have a brush to localize the effect in the plug-in so a layer mask must be used in Photoshop to do this. Below it can be seen how similar the results were with Topaz Glow using the same vignette and spotlight effects.
This is not to say this plug-in will replace Topaz Glow – Glow has a lot more sliders and presets for a lot more choices (see my Digital Lady Syd Reviews Topaz Glow blog) , but for a free plug-in, Spectrel Arts does a pretty nice job. For comparison, below is the original show image after doing basic changes in Adobe Camera Raw.
To finish up this image, a white spotlight layer was placed on all the flowers (see my How to Add a Soft Spotlight Light blog) on the shoes and a soft vignette was placed around the outside of the image.
Spectrel Art has 27 presets that seem to be a really nice assortment of settings. There are also several sliders that can adjust the effect. In the top image and the screenshot below, the preset 18 Dark Lines was selected and the Detail Style changed to Soft.
- The Detail slider increases the amount of intersecting lines and Colorize Detail adds color to the lines. The Detail Style buttons deal with the amount of glow color and light applied to the image.
- Taper Length creates an abstract style to the longer intersecting lines. Use Light Taper Style for white highlights and outlines effect – can use Lighten slider to illuminate the whole scene and Brighten to illuminate the outlines; and use Dark for stark contrast of black intersecting lines – can use Blacken to strengthen the overall dark areas and Blacken to increase the dark outlines.
- Edge Sharpen defines and emphasizes the lines.
- Color Boost enhances overall color.
- Contrast darkens shaded areas and brightens the light ones.
- Smoothing softens the curves in the lines.
That about sums up all the controls – very easy to use. Below the image of a white orchid butterfly taken at the West Palm Beach Zoo is another example using this plug-in. (Here are the settings used: Detail 64-just press the dot on the slider to get the amount, Colorize Detail 81, Detail Style Soft, Taper Length 50, Taper Style Light with Lighten set to 50 and Brighten 40, Edge Sharpen 98, Color Boost 21, Contrast 60, and Smoothing 68.) The layer was set to Color Burn at 51% layer opacity. A Hue/Saturation Adjustment Layer was placed on top and Greens was set to Hue -31/Sat -70/Lightness -61 to reduce the really bright green in the background. On a New Layer a Mixer Brush was used to smooth over the sharp edges of the colors. Topaz Lens Effects was opened and a dark olive green vignette was used. That was it. The Spectrel Art plug-in made the butterfly really pop!
Hope you will try out this plug-in – it is a lot of fun and you can’t beat the price! I hope to have time to really see what it will do. JixiPix seems to have a lot of other plug-ins that I might try out as they look interesting. Anyway, have a great week!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Coming At You!
This week I thought I would just show a quick image that used Nik HDR Efex Pro 2, one of the 7 plug-ins in the now free Google (Nik) Collection. I do not do much HDR shooting anymore, but here is an image taken a few years ago that used 5 bracketed shots. If you like to shoot HDR, I would definitely check out this software – it is different from both Lightroom’s and Photomatix Pro’s HDR results. I had done a previous review years ago (see my Digital Lady Syd Reviews Nik HDR Efex Pro 2 blog) and still love the plug-in as much as before. So here were the quick steps that got this effect:
- From Lightroom, all the images were selected and opened in Photoshop as individual files.
- Next the plug-in was opened in Photoshop by going to File -> Automate -> Merge to HDR Efex Pro2 – press the “Add open file” and then the Merge Dialog button. You can click the check box for Create Smart Object so you can go back in and adjust effect. (Can apply plug-in from LR by going to File -> Export with Preset -> Merge to HDR Efex Pro2.)
- Check Alignment if images not shot on a tripod. Same with Ghost Reduction – move slider at bottom to show image that shows image with movement that looks best as in clouds or trees. Always check Remove Chromatic Aberration.
- Now just presss Create HDR – a tiff file is created.
- The Default preset is automatically applied to the image. Now the fun is going through all the presets and see which one(s) look best on the image. Experiment with the sliders on the right. Tone Compression is the amount of HDR effect seen – set all the way left there is no HDR effect. Method Strength slider goes from very weak to very crunchy looking. All the other sliders can create some nice effects. If you find a combination you, just create a preset by pressing the (+) sign in the Custom section on the left. The above image used the Deep 2 preset to start.
- Note this image is now set to 32-Bits/Channel – this is a huge file and lots of PS effects and actions will not run on it. I change it to 16 or 8 bit mode so I can do things as in the next step. Go to File -> Mode -> 8-Bits/Channel. This causes the file to be merged down and the Smart Object is rasterized. (If you duplicate the Smart Object and rasterize the layer, turn the eye off the bottom Smart Object layer, and now change the mode, select Don’t Merge Layers, the Smart Object info can be retained in the layer that is turned off – sort of a hassle, but it can be done.)
- Here is a tip from one of my favorite Photoshop people, Scott Kelby, which he offered in his videos on this plug-in. Apply the HDR effect and then take the resulting effect into Nik Color Efex Pro 4 (another wonderful plug-in and is included in the download bundle) and select the Glamour Glow filter set to the default preset. He says it is the magic that really pulls the realistic HDR effect together and does not look over-the-top. That is what was done above.
To finish up the image, the waterfall was blurred so it looks a little more like a long exposure. (See my Smoothing Out Those Waterfalls blog on how to do this.) In this case, two Motion Blur layers were created since the water flows in a couple different directions. Also the slight blue chromatic aberration edging in the small sky in the upper left was removed by using the technique in my A New Look at Chromatic Aberration blog – worked beautifully. That is all that was done.
Here is an image that used the Nik HDR Efex Pro 2 plug-in that was done a while back. Just another good example of how this looks. I really like the effect in the skies. This image used Grannys Attic preset.
The London of Parliament image taken several years ago used both the free Nik HDR Pro Efex 2 and free Nik Silver Efex Pro 2 (see my Make an Ordinary Image Interesting Tidbits Blog for info on how to do this.)
Here is another example using the previous version, Nik HDR Efex Pro – I really liked how this image turned out – it the used Grannys Attic preset, but it had some different parameters in the first edition, which was also very nice.
Hope you will download this Google (Nik) collection of plug-ins – you will not be disappointed. As far as the HDR Efex Pro 2 goes, as Scott Kelby says, try it as it has a little different look from other HDR software and you might really like it. This is true of all their plug-ins – give them a try. I have always loved the Nik plug-ins – they run very smoothly even on older computers. When used with a Smart Object, the settings are preserved, even the control points that are used to localize the effects, so you can go back and adjust later. Sad to see this is probably the end of this plug-in but at least everyone now has a chance to use it. Have a great week experimenting!…..Digital Lady Syd
Thought I would share a tip that can really improve your photos, especially landscapes. Wikipedia says “Chromatic aberration manifests itself as “fringes” of color along boundaries that separate dark and bright parts of the image.” This seems to be very apparent in blue skies in landscapes with lots of trees. The above image was taken at the Jacksonville Zoo of a vintage-looking carousel (see my Only in Florida! Tidbits Blog for a closer look). Just a few Basic panel adjustments Lens Corrections (checking just the Enable Profile Corrections and Remove Chromatic Aberration boxes) were done in Lightroom before opening up Photoshop.
This technique was passed along by one of my favorite Photoshop people, Blake Rudis (who says he learned it from Steve Perry), at his f64 Academy in a video called The Color Blend Mode – there is a free downloadable action here to do this technique. The image had some empty branches against the blue sky along with was some real blue-cyan chromatic aberration. In Lightroom the Remove Chromatic Aberration checkbox did not remove this and to be honest, I did not notice it until I was in Photoshop since only the upper corners were affected. Below it can be seen what a subtle difference the technique makes – you can definitely see the cyan color shift due to the Chromatic Aberration in the sky. It is hard to see, but the branches on the right side image look a bit darker and sharper, especially where the larger branches are present. This was also true on the upper left side of the image.
So here are my steps to get rid of this ugly blue edging in this case but it will work on any color of chromatic aberration.
- Duplicate the Background layer (CTRL+J) and turn it into a Smart Object by right clicking on the layer text area and selecting Convert to Smart Object. A stamped layer (CTRL+ALT+SHIFT+E) could be used and duplicated if in the middle of post-processing.
- Go to Filter -> Blur -> Gaussian Blur and set the Radius somewhere between 6 and 20. I used 6.8 for this image.
- Change the layer blend mode to Color – now the whole image is blurred.
- Click in the Smart Filter layer mask and CTRL+I to turn it black. With a regular soft round brush, paint with white just in the areas you want the blur to correct the chromatic aberration.
Blake does not use a Smart Object, just applies the filter and adds a black layer mask – then paints back areas that need correction. This technique also works if the chromatic aberration is not completely removed when using the Camera Raw filter. What is really useful is that this is a localized correction and only affects the part of the image that needs the correction. The Blur does not affect the whole image! I find this gives a very subtle and sharp result to the bad areas. Here is a link to one of my Tidbits Blogs called Defringe that Nasty Blue Edge from Trees On a Bright Blue Sky! done a while ago where 4 other ways to remove Chromatic Aberration are presented if you would like to try out some other techniques.
There were lots of steps used for final processing in this image – Topaz (see sidebar at my Tidbits Blog for website link) Glow, Topaz DeNoise, Photo Filter Adjustment Layer, Vignette, and clean up layers. Overall I was pretty happy with the final results.
Give this Chromatic Aberration trick a go, especially if you have cyan blue going around those branches in trees. It works really great! Also check out Blake’s f64 Academy website as he has lots of great ideas on improving pictures. Well, back to my organizing until next week…..Digital Lady Syd
Still working around my office, but thought I would post a picture showing a little group of giraffes taken at the Jacksonville Zoo. The basic technique is that you can apply a filter to a layer without applying it to the whole image to tie it all together very easily.
The giraffes were selected in Topaz (see sidebar at my Tidbits Blog for website link) ReMask 5 but any method works fine, then the resulting layer mask was applied in PS. Next one of my Corel painted textures was placed underneath the giraffe layer. Topaz Impression was opened on the giraffe layer and the Van Gogh I preset was applied with no changes. The small giraffe’s head was too dark so it was lightened by adding a Curves Adjustment Layer to lighten the head (ignored the rest of the image) – then filled the layer mask with black and painted back with a low opacity soft round white brush just the head. On three separate new layers above, the free Frostbo’s Grass Set 2 brushes were used to add the grass – just change the size and add Color Dynamics for brush variety. These layers were put in a group and the group duplicated. Turned off the original group and with the duplicated group, right clicked and selected Merge Group. Topaz Impression Van Gogh I was also applied to the grass which really give it a nice painterly effect. 2 Lil’ Owls Studio’s (see sidebar at my Tidbits Blog for website link) Light It Up overlay in mini set 5 was placed on top and set to Color blend mode at 85% layer opacity. This warmed up the image a little. Topaz ReStyle was added at 47% layer opacity to give a bit of color back into the giraffe bodies. Dodging and Burning was done with Overlay layers using a black or white brush set to 15% brush opacity. On a stamped layer (CTRL+ALT+SHIFT+E) Nik Viveza 2 (now free – go get it!) was used to emphasize the focal points and add a slight vignette feel in the corners. That was it.
Hope you got a few tips here – the best thing to understand is that you can actually apply a filter just to a layer that contains objects only for some pretty nice effects – it does not have to be applied to the whole image……Have a great week!…..Digital Lady Syd