This week I am just taking it easy and playing around with some text and images. Sometimes you just have to let the creative side play and see what happens! Anyway, this is how Digital Lady Syd takes a break! I just can’t get away from Photoshop! I do not usually use other individuals’ images, but for practice it is great – I do not see me getting to these beautiful mountains soon! There are many resources today if you would like to try a few new things.
In the image above a text layer was placed in a new document – the font used was from a CD bought years ago by Cosmi called 04, a fabulously fat font. The Create Warped Text icon on the Options Bar was double-clicked and in the Warp Text dialog, a Style called Arc Upper was selected with a Bend of +50%. A Stroke Layer Style was set to a Size 7 px, inside set to Color white. The Default Drop Shadow was added. Some splatter brushes from French Kiss (for website link see my Tidbits Blog sidebar) were used above and underneath the text to add the crazy effect. A Pattern Adjustment Layer using a lace pattern was clipped (ALT+Click between the layers) to add a lacy effect in some of the strokes. (The Pattern used was a black and white lace texture from a set redheadstock at DeviantArt called Lace Photoshop Patterns.) The SS-Groping 1 Flying birds are also from redheadstock and set to 73% layer opacity. One of my painted textures was placed on the bottom and a Black and White Adjustment Layer was used to desaturate it. On a composite layer (CTRL+ALT+SHIFT+E) Topaz (for website link see my Tidbits Blog sidebar) ReStyle was applied using the Snow Cover II preset with a few adjustments to the Color and Tone sections. The lower text font was called Berlin Sans FB Demi. On a layer above the text, Grut’s FX IL Bottle Topple brush from his terrific Inky Leaks Splatter brushes was applied to slightly cover the text – set to 64% layer opacity (and do not forget to look for his free brush of the week – it is a great way to get introduced to his big selection of brushes).
The original of the woman shows her standing in the middle of some orange colored leaves – I think she looks like a princess! (See Kuoma Stock Haunted 13 for original image at DeviantArt.) The woman was extracted from the background using the Select and Mask Command. Another one of my painted backgrounds was added and a couple layers of splatters were added behind the girl. Color was added to her face and nails and hair added into the image. On a New Blank Layer heart brush was created from the Custom Shape Tool (in Options Bar select the Heart Shape and set the 2nd button to Shape; go to the Paths Panel and click the Create a Selection icon at bottom; go back to Layers Panel and fill selection with black by ALT+Backspace to fill; with Marquee Tool, select the black Heart and go to Edit -> Define Brush Preset and name Heart). Settings for the brush are: Brush Panel’s Brush Tip Shape Spacing 25%; Shape Dynamics Size Jitter 93%, Control Pen Pressure, Angle Jitter 12; Scattering Both Axes, Scatter 1000%, Count 1, Count Jitter 0; Color Dynamics Apply Per Tip, Foreground to Background 8%, Hue 7%, Sat Jitter 2%, Brightness Jitter 7%, and Purity -36%; Transfer Opacity Jitter 20% and Flow Jitter 32% and Smoothing on. Two New Blank Layers were used to add in different colors (white and light pink) hearts – one layer’s Layer Style ws opened and set to Bevel and Emboss to add a little texture to some of the hearts. Topaz Texture Effects 2 was opened and the Breaking Down preset was applied with the Spot Mask used to remove effect from her face. Duplicated the layer and opened up the Corel Painter plug-in (I am still using the old version) – the Flame brush was selected and pink and light color flames were painted just for fun. The old frame is from the Scrapbooker itKuPilli and is in a set called Amazing Grapes (could not locate). The font with the hearts is called Fiolex Girls. On top 2 Lil’ Owls Color Bokeh Grunge Set texture 4 (for website link see my Tidbits Blog sidebar – this is one of my favorite sets) was applied and set to 38% layer opacity.
This is also a wonderful Unsplash photo by Johannes Plenio called Winter. I got a little carried away post-processing this image until it was brought to my attention that it looked like a raging forest fire – I thought it was an incredible sunset! (See below.) Just an example of good intentions that turned into not so good post processing. Anyway, just a little tweak from Topaz ReStyle and now it is a beautiful wintry image. So most of the dramatic changes were done in the new Topaz Studio using Sharpen, Radiance, Color Theme, Texture and HSL Color Tuning sections (I created a preset called SJ Forest Landscape in the Community if you have downloaded the plugin and would like to try it out). For more info, see my Introducing the Free Topaz Studio blog. This created the sunset look, but also created the nice sharp tree trunks and edges. Back in PS, two Curves Adjustment Layers were used to adjust the RGB curve for contrast, and then the Color using the individual Channel Curves. Next a Levels Adjustment was applied as it just looked good. Then a Black and White Adjustment Layer adjusting the color contrast sliders just a little and then set to Luminosity blend mode. And finally a Selective Color Adjustment Layer adjusted the Yellow color so the little tree on the left showed up better – set the layer mask to black (CTRL+I inside the mask) and painted back just the tree. 5 New Blank Layers were added and set to Overlay blend mode and with a soft round brush, various areas were highlighted with white, yellow, and sky colors. The layer opacities were reduced to taste. It was now a raging fire image! Oh my gosh! Okay, here is a small image so you get the idea and see how powerful ReStyle can be.
Quickly Topaz ReStyle was opened and the Snow Cover II preset (once again) was applied with very few changes – just a few Tone and Detail changes. It was amazing how this preset was able to transform the image. In PS a New Blank Layer was added and Grut’s FX IL Dry Grit brush was used from his set above and snow was painted lightly on the trees. My free SJ Snow2 Overlay slight Blur was added at 75% layer opacity to give some nice snow effect. The Shadowhouse Creations Snow Overlay 11 (his resources are the best!) was added to give a little more snow dimension – it was set to Screen blend mode at 70% layer opacity. The last step added Matt Kloskowski’s vignette (see my Fun Photoshop How to Create a Subtle Vignette Blog.)
Hope you got a few ideas with this sort of lazy Summer Day Blog – have a great week!…..Digital Lady Syd
This large Wood Stork was definitely enjoying himself as he posed for the bird paparazzi at the St. Augustine Alligator Farm Rookery, and the other Wood Storks from his perch. This big bird actually held his balance very well up on that little branch – pretty amazing! Well I know I am taking a couple weeks off from blogging but thought I would add this short blog to let you know I am still around. Most of this image was actually post-processed in my old Adobe Photoshop Elements 10 without any problems. Just duplicated the background layer and opened Topaz (for website link, see my Tidbits Blog sidebar) Detail 3 to add some sharpness to the whole bird. Added on top 2 Little Owls (for website link, see my Tidbits Blog sidebar) Workbook Texture 4 which gave the plain blue sky a beautiful effect. Jay Johnson’s free Flying Bird png2 file was added in the top and set to 44% with a Pattern Fill Layer added to add some softness to the bird color. An Exposure Adjustment Layer was used to sharpen the eye. Then added a grunge brush png layer i created and applied just around the stork. This layer was set to Overlay blend mode at 25% layer opacity. Then popped into regular Photoshop CC2017 to add a Red Channel Luminosity Curve Layer and Nik Viveza 2. Very easy and enjoyed trying out my old program for a change. See ya in a couple more…..Digital Lady Syd
This week I am presenting a little tutorial on how to add an interesting an painterly or artistic effect to your images. This technique goes hand-in-hand with the use of other creative filters, but is a great way to add a personal touch to those canned filters results. The image above is from Stirling Castle (completion date cc 1542) where the face of the palace is lined with statues. This statue is thought to be King James V of Scotland in yeoman attire as he wandered incognito among his subjects and calling himself the Gudeman of Ballengeich (tenant farmer of Ballengeich, a place near Stirling).
This technique comes from a really nice tutorial by Sebastian Michaels who is a total genius when it comes to using Photoshop. Several years ago he created a video called Custom Brush Technique at Light Stalking where he discussed several different ways of creating brushes. He made a grunge brush that he used to paint in an effect similar to the above. I took a little liberty here and downloaded similar brushes to create some of my effects.
What is shown here is how to add a white layer with a layer mask – by painting with black in the layer mask with unique and textured brushes, a very artistic result can be achieved. The steps are as follows:
- Adjust photo and on a duplicate layer (CTRL+J), add in any special effects such as filters.
- To add even more variety to the image, copy the duplicated layer from Step 1 and add adjustments layers, filters such as Topaz (for website link, see my Tidbits Blog sidebar) Impression or ReStyle, or go to Image ->Adjustment->Hue/Saturation (not an Adjustment Layer) set to colorize to change the overall color of the image. My image was turned into a bluish colorized look on the original filter layer, but could have been done on another duplicated copy.
- Add a New Layer on top and fill it with white (can go into Edit->Fill and Content: White (SHIFT+F5), or just change the color swatches to default Black/White (D) and press CTRL+BACKSPACE to fill with white (FYI: ALT+BACKSPACE fills with black).
- Add a Layer Mask to this layer (2nd icon from left at bottom of Layers Panel).
- Using several different brushes in the layer mask, build up the effect. Set the brushes to 20-30% only and change the rotation of the brush with each tap down. It is easiest to do if the Brush Panel is opened and set to the Brush Tip Shape section. Flip the little circle around to set the stroke so edges appear different when painted in the mask. Also, can right click in the Options Bar the Brush Preset Picker (2nd icon) to change the rotation and size quickly. Start by adding a bit of vignette feel on the edges. If you want the brush to rotate randomly with each stroke, can ago into the Shape Dynamics section and set the Angle Jitter to some amount – I use 19% on many of my brushes. Look at the Preview field to see what the effect will be when changes are made in the Brush Panel.
- If the layer was duplicated and more than one filter or effect was created (as in Step 2), also add a layer mask to all these layers and paint out parts so the original color of the image shows through. This gives a nice split tone look.
To get an interesting effect, try grunge brushes, splatter brushes for the edges, and soft round or smaller sized textured brushes to paint back any important details. Different sizes, rotations and opacities of brushes really vary the effect. And remember the Properties Panel can be used to adjust the layer mask opacity if the final result is too strong. The actual layer blend mode and opacity can be adjusted also. Lots of flexibility can be found here.
The above followed Sebastion’s steps from his video pretty closely including using Photoshop’s Filter Gallery to create a watercolor effect (Watercolor filter – Brush Detail 9, Shadow Intensity 1, Texure 2; and Crosshatch filter – Stroke Length 9, Sharpness 6, Strength 1). This was added to the layer first before the Hue/Saturation Colorize effect was applied. Then the White Layer was placed on top. Three different types of brushes were used on both layer masks: a grunge brush (Shadowhouse Creations’ Grunge Brush Set 2-G4 brush), a grunge brush made using a texture somewhat like Sebastian’s, and Grut FX IL Ratatatsplat brush (from his wonderful Inky Leaks Splatter set) was used for the edge effect. Finished up with Nik Viveza 2 to just pull the eye into the statue area and lightly lighten the face.
This blueberry image used the same workflow. It does not seem as if adding a white layer on top would make much of a difference here, but it actually did. It lightened the image overall before bringing in the color from the layers below and can add some beautiful texture with the right brushes. For this image, Topaz Impression was opened and one of my presets was applied called SJ WC like effect on bldgs (see end of blog for settings). On a duplicate layer, an Image->Adjustments>Hue/Sat-Colorize was set to Hue 46/Sat 27/Lightness +2 – a gold sepia tone. The color did not look right so a Hue/Sat Adjustment Layer was clipped to the layer (ALT+click between the layers) and changed to a more pink color. This layer was set to 33% layer opacity. Brushes used in white top layer mask and the Impression and Colorized layer masks were: SJ 1 Color-Paint Fur-AD Sketch Splatter (see end of blog on how to create this brush-one of my favorites as it adds just a touch of texture to the stroke at a small size and nice splatter brush at larger size) at 25% br opa and 502 px and rotated around edges; Shadowhouse Grunge GB-4 again at 1200 px and rotated around center; and ABlaise-Canvas Texture Br 46 32-350px (this brush added some nice texture into the image). The brush sizes and rotation were varied in each mask. Topaz ReStyle’s Zambezi Zest preset was used to get the French vineyard colors in the image. (Settings: ReStyle Opacity 62% and Soft Light blend mode; Color Style Primary 0.58; and Lum Primary 0.47; Texture Strength 1.00; Basic Temp 0.22, Tint 0.34, and Sat 0.08; Tone Black Level -0.14, Midtones 0.03, and White Level -0.39; and Detail Structure -1.00 and Sharpness 0.63; and Masking – with Strength set to 0.36, painted out the green leaf at bottom and the berries to give more detail in just those areas.) Finished up with the standard Red Channel Luminosity Curves Adjustment Layer, Black and White Adjustment Layer set to Luminosity blend mode, and Nik Viveza 2 to bring out the focal points.
Here is another example of how this technique could be used. This is an image of Urquhart Castle in Scotland on a very rainy day. Topaz ReStyle was applied using the exact same preset and settings from the blueberry image. Then a white layer was added on top with a mask. The Castle image was painted back in using the same brushes as above or the newly created Grunge Brush, the SJ 1 Color-Paint fur-AD Sketch Splatter brush (settings below) and once again Aaron Blaise’s Texture brush – his textured brushes really help with this effect when used in a layer mask. The layer was set to 35% layer opacity. On the ReStyle layer, a layer mask was added and parts of the trees and castle were painted out so the original image color showed through. At the top a New Layer was added and filled with a light gold-yellow color. A layer mask was added and once again the image was painted back using the same Grut-FX IL Ratatatsplat for the edges and my SJ 1 Color-Paint Fur brush at a small size for the detail areas. This layer was set to Linear Dodge (Add). To get the final effect, the Layer Style was opened by double clicking on the layer. In the Blend If sliders, the Underlying Layer black tab was split (by holding ALT and pulling the tab apart) and setting it to 10/70. This does not always work, but it definitely worth trying out to see what happens. In this case it brought out the structure more clearly. Nik Viveza 2 was used to pinpoint the focal point which is where the red umbrella is located. Anyway, just note that you are not limited to a white color top layer or using just one color layer. With a little experimenting, a very nice image can be produced. I believe I will use the above image on note cards.
Hope this gives you another little trick to try in your artistic endeavors and maybe it will give your images that extra level of interest it needs. And try out my brush – I am finding it is very useful in lot of different types of images. Have a good week!…..Digital Lady Syd
Topaz Impression’s SJ WC like effect on bldgs Settings: Thought I would share the preset settings as it really does give some interesting results sometimes with a little masking when looking for creative effects. The preset was made in Topaz Impression 1: Started with Watercolor II preset and these were the final settings: Stroke Type 04, Brush Size 0.91, Paint Volume 0.42, Paint Opacity 0.87, Stroke Width 0.33, Stroke Length 0.89, Spill 0.23, Smudge 26, Coverage 1.00, Color Overall Hue 0.15, Saturation -0.20 and Lightness 0.06; Red Sat 0.47 and 0.14; Orange Sat 0.60 and Lightness -0.42; Yellow Sat -0.33 and Lightness 0.13; Green Sat 0.20 and Lightness -0.32; and Blue Sat 0.36; Lighting Brightness -0.04, Contrast 0.39, Vignette 0, and Light Direction X0.33 and Y0.06; and Texture Strength 0.78, Size 0.30, Canvas IV, Background Type solid white, and Background color used #d38967 – all other settings not listed at 0. Adjust your color swatches to get other color tones. These changes were made to the preset in Topaz Impression 2 for the blueberry image: Number of Strokes High; Color Aqua Sat 0.25 and Lightness 0.51; Lighting Highlight 0.40, Shadow -0.39; and Texture Strength 0.
SJ 1 Color-Paint Fur-AD Sketch Splatter brush has become a favorite brush for all kinds of things. With these brush settings, it is great to paint animal skin but it works great wherever a little soft edge with subtle texture is needed. It is my go-to clean up brush when color needs to be added to fill in some rough spots. Here are the settings: First download these free brushes from Alex Dukal – Adobe Sketch Brushes and select AD Sketch Splatter – 143 px brush. This brush had the brush tip I liked but most of the brush settings were changed. Here are the Brush Panel settings as I use the brush: Brush Tip Shape – Size 9 px, Angle 13 degrees, Roundness 100% and spacing 120%; Shape Dynamics – only the Control field was set to Pen Pressure (for tablet use); Scattering – check Both Axes, Scatter 149%, Count 9, and Count Jitter 54%; Transfer – only the Opacity Control field was set to Pen Pressure, and Smoothing checked. Be sure to create a Brush Preset and a Brush Tool Preset (1st icon on the Options Bar – open the drop down and click the Create New Preset icon – this saves the Options Bar settings). Adjust and paint with different sizes. Can add Texture and Color Dynamics for different look. Also Dual Brush can be interesting. I use this brush sometimes as small as 4 px to clean parts of an image by sampling adjacent colors. Try out the original brush provided as it is a really nice splatter brush.
This week I 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
Just doing a fun quick blog this week on a Lightroom (Camera Raw) preset I created several years ago and rediscovered. This is an image of how I envisioned this roller coaster looking at Daytona Beach as we move toward the cooler months.
This image was first processed from Adobe Bridge in Adobe Camera Raw using an old preset of mine that uses the Camera Calibration Process 2010, so the new sliders were not present. It was one of my favorites and it was called Colorful Blown Out. (For an example of original use, see my blog Colorful Blown Out Look Lightroom and Adobe Camera Raw Preset. The download links do not work anymore, so see Bird image below for the original preset settings.) I like this preset as it makes it easy to separate your subject from the background so the Color Range Command can be used. By adding a texture underneath, some really interesting and nice effects can be achieved. The Roller Coaster image uses the preset with the old 2010 Process and sliders. See end of blog for more post-processing info and how the Color Range selection was created.
Another image from Daytona Beach near the end of summer. Mainly locals enjoying a few final days. Well, the same blown out preset for Lightroom 3 was used on the first image, but this time I updated it to Camera Calibration Process 2012. Click on the image below to see the settings used for the Basic and Luminance sections which make up most of the preset. The other Sections were Sharpening set to Lightroom default of Amount 25, Radius 1.0, Detail 25 and Mask 0. The Effects Post-Crop Vignetting was set to Style Color Priority, Amount +22, Midpoint 28, Roundness -14, and Feather 4. At this point the settings were saved as a preset. The Exposure and Vignette settings definitely need to be changed to suit the image, and possibly all of them – it is just a starting point. All these same settings are the same in Camera Raw as well. I do find I prefer the original preset more than the 2012 version created with the new sliders. My advice is to try both preset versions.
It is a pretty high key look. In case you cannot see these settings, here they are: Exposure +2.39, Contrast +96, Highlights -28, Shadows +28, Whites 0, Blacks +10, Clarity +34, Vibrance +70, and Saturation 0. For more post-processing info, see end of blog.
This rather comical image of a Roseate Spoonbill from the St. Augustine Alligator Farm Rookery used the original 2010 process. If you want to try it out, here are the Basic Section settings: Exposure +1.61, Recovery 0, Fill Light +56, Blacks 3, Brightness +50, Contrast +97, Clarity +68, Vibrance +70, and Saturation 0; Post Crop Vignetting set to Highlight Priority, Amount +36, Midpoint +54, Roundness -15, and Feather +76; Luminance set to Reds -39, Yellows -36 and Greens -25; and default Sharpening settings. These also need to be adjusted some to get the correct effect, but it is a good start. And lots of people prefer the Recovery and Fill sliders and use the older 2010 process with their old favorite presets often. See this short video by Matt Kloskowski, one of the best Lightroom gurus, called Lightroom’s Secret Shadow Slider Trick. The Fill In slider is quite high in the 2010 process versus the lower amount of Shadow in 2012. It is really great that Adobe lets you use the older sliders so you can still use some of your favorite presets.
Hope you try this effect, it is actually pretty nice on some images. Look forward to the coming months with everyone! Have another good week!…..Digital Lady Syd
Image 1: Info on finishing this photo is as follows. The Roller Coaster image was opened as a Smart Object in Photoshop where it was duplicated. This layer was rasterized to form one regular layer (right click on words in layer and choose Rasterize). This regular layer was taken into Select -> Color Range, choose Highlights, and clicked the Invert check box to select the roller coaster and not the sky. Next press CTRL+J to put selection on a layer of its own. Next several texture were tried out underneath to see what would give an interesting back effect. This time I used two of my painted textures and the Blend If sliders to get the colorful result. On a stamped layer (CTRL+ALT+SHIFT+E) Topaz (for website link, see link at my Tidbits Blog) Lens Effects Dual Tone Red to Yellow preset was used as a starting point, then sliders tweaked to get the effect I liked. A Black and White Adjustment Layer was added on top to see where my focus was going. By adjusting these sliders and setting the Adjustment Layer to Luminosity blend mode, the bright detail in the center were emphasized and where the image focal point is. The layer mask was inverted to black (CTRL+I in mask) and just the focal area was painted back in. On another stamped layer, Nik Viveza 2 was used to darken the edges a little. A Curves Adjustment Layer was added as a last step on top.
Image 2: Therefore, it was taken into Photoshop to add a few more tweaks. The Liquify Filter was used to slim down several of the beach-goers. On a stamped layer Topaz Adjust was applied using Topaz Adjust’s Painting Venice preset (one of my favorite Adjust presets) with changes to Transparency (0.57) and Warmth (0.17). On top one of my Corel Painter beach textures was added to soften and give the foreground a little more color, and was set to Normal blend mode at 53% layer opacity. A layer mask was added and the people were painted back a little to make them show up better. A Curves Adjustment Layer was added as a last step. Pretty easy and lots of fun to do! I just love all the activity at the beach!
Digital Lady Syd Related Blogs:
I Didn’t Know That! Converting Lightroom Preset to Adobe Camera Raw Preset
This week I am just presenting a couple of simple suggestions on how to change up your older, and maybe slightly over-used favorite textures, to add a fresh backgrounds to your images. I have started painting my own textures usually in Corel Painter, but sometimes Photoshop, to cover up my busy bird backgrounds. For me it is easier to actually create basic textures to work with these images, and then keep reusing the ones I like. I also have favorites by several different texture folks that I tend to over-use. The above image of the beautiful Snowy Egret mother and her baby at the St. Augustine Alligator Farm Rookery is a great example of what can be done with a basic texture to get a totally different look.
First tip is to try out your different plug-ins
In this case, Topaz Lens Effects’ Toy Camera filter (Bright Color preset) was used to create this colorful background that fits in beautifully with the birds. See original texture below with birds that were extracted from image using Topaz (see sidebar at my Tidbits Blog for website link) ReMask 5, but before clean up and painting touch ups.
Even Photoshop’s Liquify, Filter Gallery, and don’t forget the older Oil Painter Filter in CS6 or the original CC can be used to get an fresh interesting background. An you can always apply the effects just to the subject layer also. I actually used the Oil Painter filter on the birds first before painting them to use as a starting point. And with all the fairly inexpensive plug-ins around, try stacking some of the effects. Several Lens Effects presets were tried before deciding on a colorful background. (Here were my settings so you can see how it was adjusted: Toy Camera Aberrations all set to 0 as I did not want this effect; Placement Adjustments Region Size 0.06, Transition 0.48, and Angle 130.3; Region A Color Casts Cyan Cast A – 0.09, Red Cast A, Magenta Cast A and Green Cast A all 0, Yellow Cast A 0.13 and Blue Cast A 0.09; Region B Color Casts – All 0 except Yellow Cast B 0.17 and Blue Cast B 0.04; and Image Adjustments Brightness -0.38, Contrast -0.14, Saturation 0.03, Saturation Boost 0.13, Shadows -0.20, and Highlight 0.15.)
One of the most important things to remember about adding texture to birds and flowers is to make sure the background colors somewhat match the colors of the area you removed from around your subject. The subject’s edges blend so much better and gives a more natural look. This may be the happiest Gray Heron I have seen flying around at the St. Augustine Alligator Farm Rookery. He seemed so excited that he found this wonderful twig to add to his nest. The bird background was very simple, just a flat blue sky, so the extraction using Topaz ReMask 5 left just a little bit of blue color fringing on the edges. By placing a bluish texture behind the bird, he blends in beautifully with the texture. This texture that I painted in Painter is not blue at all – see original texture below.
Tip Two is to use those Adjustment Layers to get different overall looks
To change this texture a Hue/Saturation Adjustment Layer was used and set to Hue +155, Saturation +7, and Lightness +22, which moved all the colors towards the sky blue tones. You can even go into the individual colors in the Master drop down to change it up in just one particular color area. The Selective Color or Color Balance Adjustment Layers also do great color changes. Both the Curves and Levels Adjustments Layers have drop downs behind the RGB that go into the individual color channels where very specific color changes can be made. The Color Fill Adjustment Layer set to Color blend mode at different layer opacities can change up the overall color. And the Replace Color command can add some really nice color changes (Image -> Adjustments -> Replace Color). The bird was painted using one of Fay Sirkis’ Portrait Pet Mixer Brushes I believe they are still available at KelbyOne if you are a member (in their older webinar section) and they are the best for bird images that I have found.
Tip Three is just Transform and Warp to your hearts content!
You can always Free Transform your textures when adding to the image, and stretch, bend and/or distort them anyway you want. Sometimes just a part of the texture looks good in the image – you do not have to use it all. Sometimes flipping it vertically or horizontally will make the subject fit in with the texture better. And don’t forget that Warp button – can get some really interesting results by pulling and stretching.
This image is of some beautiful parrot tulips I had a few years ago. It used a texture I created in Painter while I was just trying out different brushes. Below a screenshot of how the original texture was placed to get this effect on this image.
This image used a lot of different painting techniques on the flowers. They were selected in Topaz ReMask 5. Mixer Brushes and Art History Brushes using 4 different History snapshots (Light, Dark, Medium, and Color snapshots were created with Curves Adjustment Layers and Hue/Saturation Adjustment Layer to create snapshots – they can then be deleted) were used to paint the flowers. On top a New Layer was created and the Smudge Brush was used to add even more of a painterly look. It is important to remember that you do not have to stick to just one type of painting technique – change them up and adjust layer opacities or use layer masks to get the look you want.
Try out different effects on your textures either before or after applying them to your image. You might really get a very unique and special look by taking a few extra steps. Also check out my Texture category for more blogs on textures. Have a Fun Holiday!…..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