Happy Mothers Day to all and I hope everyone is having fun with their Moms or remembering the good times if they are not around. This vintage lady, in remembrance of my fabulous Mom, is one I drew based upon an image I particularly like called A Holiday at Mentone (a beach near Melbourne, Australia) by Charles Conder in 1888. I learned this is a great way to practice a little drawing and try out some new brushes.
The brushes used here are all from Kyle T. Webster sets that are free with your Photoshop subscription. To load them, open up the Brush Panel and go to the settings hamburger icon in the top right corner of the panel – in the drop-down select Get More Brushes. Just search through the list until you find the ones you want to download. Note that there are hundreds of brushes so I never load them all at once. Just save the sets to your hard drive and load the set as needed.
First step was to draw the vintage lady – tried several digital pencil brushes and finally settled on one of the Winter 2022 brushes called Tilty Pen Alt. Never really liked the brush but for some reason it worked out very nice for this type of sketching. On layers created underneath the now locked sketch layer set to a lower layer opacity (36%), several digital pastel and oil brushes were tried to add in the color – it did not look great. Having never tried the Watercolor painting effect before, it was my next choice. Therefore, the Real Watercolor brushes were opened up and mainly Kyle’s Real WC-Flat Thing to Thick (in Options Bar, changed the brush Mode to Normal and Angle to 93 degrees), Kyle’s Real Watercolor – Clean Edge Thick ‘n Thin 40, and Kyle’s Real Watercolor – Basic 50 were selected. I found I liked the watercolor brush Mode set to Normal instead of Multiply on many of the watercolor brushes I tried. Separate layers were used to paint the different parts of the image. Also Kyle’s Summer 2020 set called Impressionista was used on the skirt. Viveza 2 (from the free Nik filter set from years ago – still the best filter around for quick changes IMHO) was placed on her face and reading material to slightly lighten the tone. A Gradient Adjustment Layer was added underneath the lady and set to a diagonal. The Microsoft font Segoe Print was used and a Stroke Layer Style was applied to make it stand out.
How do you know which brushes to try? One of the best ways is to watch Kyle T. Websters’s YouTube videos on Adobe Creative Cloud – he does a Brush Hour every other week where he talks about how to use his brushes and how to change the settings to work for you. This is how I found out about the Tilty Pen Alt – once he showed how to use it, I followed along and tried it out. Some of his brushes do not work for me. Recently I did a blog on how to find ones you like. (See my Finding a Photoshop Brush in a Big Set blog.)
One major issue I had was with Photoshop 2022 was when it hung up several times while painting – not sure why but it just stopped making marks – showed it was painting in the History Panel, but they were not appearing. Also the Eraser and Smudge Brushes did not work. Had to save, close and reopen the program and then the painting brushes worked again. Therefore, I have decided to continuing using PS2021 for drawing and painting – never have problem with it. At least the exact brushes I want to use can be set up just for this. My last blog also addressed similar problems and that is why PS2021 was added back on my computer – you can still have PS2022 on your computer at the same time. (See Download Old Versions of Creative Cloud Applications – Bypassing the Creative Cloud App by Helen Bradley.)
Hope everyone has a great day and does a little Photoshop just for fun!…..Digital Lady Syd
This week I made a video on how to add a signature and/or signature block to your digital images. There are lots of questions as to whether you should do this, and if so, do you add it all the time, and does it matter at all? I am not going to address this issue. Where do you put your signature? For a quick answer, some use the bottom left, bottom center or bottom left. Occasionally they are placed near the subject in the image. Again, I have not looked at this to really know what the current trend is for placement. But actually getting your signature into Photoshop is really not that hard – the video goes through all the steps listed below.
Here are the steps to follow that are in the video:
1. On a white sheet of paper sign your name in black with several different types of writing tools like a Magic Marker, Ball Point Pen, Artist Pen, etc. Also try different ways you might like your signature to appear on your images.
2. Either take a Digital Photo of this paper or Scan it in as a JPG. If using a Scanner, be sure to check the file once opened in Photoshop to make sure the resolution is at 300 (and not at 1600 or whatever it was scanned at) and that pixels (not inches) are set to under 2500 pixels. Do this by going to Image -> Image Size.
3. Look at the signatures on the page in Photoshop and choose one you like. Select the Marquee Tool and create a selection around that particular signature.
4. Copy signature selection by going to Edit -> Copy or CTRL+C.
5. Create a New Document by clicking on the House in the upper left hand corner and selecting Create New Document – will get the same dialog as if you pressed CTRL+N. Select the Clipboard and check that your resolution reads no more than 300 dpi.
6. Go to Edit -> Paste or CTRL+V to place the signature on a layer in the New Document.
7. To straighten the signature, go to View -> Rulers or CTRL + R and pull out a Horizontal Guide. Use Free Transform or CTRL + T to straighten – may not need to do this step. To remove the Guide, press CTRL + H to hide it (or can drag it up off the page) and CTRL + R to remove the Rulers.
8. Go to Image -> Image Adjustments -> Levels or CTRL + L to make the signature lines either darker or lighter – mainly move the middle tab to do this.
9. Go to Brush -> Define Brush Preset and name it – it shows up at the bottom of the Brushes Panel.
Now have a signature brush! Next create the Signature Block!
10. In the Photoshop file from which the brush was created, select the Text Tool and add in more information like SJ Photography for example. Use any font you want – Photoshop provides some great ones.
11. Add another Text Tool layer and this time add a Copyright symbol – to do this, press the ALT key and in the numeric number pad on your keyboard, press 0169 – when you release the ALT key, the symbol appears in the text. Add your name and the year.
12. Create another new brush – Edit -> Define Brush Preset and name something different. Now it can also be used on any of your images.
13. Save the PSD file so the copyright info can be updated for next year. Then just create a new brush.
14. To make into a Transparent Signature Block, turn off the background layer in the Photoshop File and do a Save -> Save as and select PNG format. Once saved, it can then be added into your Photoshop Library for quick use – the brushes can also be added!
The top image has a Signature Block and does not use my signature but uses fonts I liked. The Signature layer was duplicated three times to darken the font lines. The font used is one I really like and is called Crimson Foam Free at 37 pt. The font for Syd Johnson Photography is Birch Std at 7 pt, and the copyright font is DomCasualBT at 5 pt. The Screenshot shows the layers in the Photoshop file. A soft orange color was added to the signature layer by adding a Solid Fill Adjustment Layer (Layer -> New Fill Layer -> Solid Color) and clipping it to the signature layer (right click and select Create Clipping Mask or Layer -> Create Clipping Mask) – then just sampled a color from the image to find a color I liked. Some people use only black or white for their signature color, but I prefer adding something that will blend in nicely with the image.
The Screenshot above shows the PS layers for how a Signature Block was created using my actual signature from the video. The fonts used were: for Digital Lady Syd Photograph Brightside at 16 pt, and the copyright layer Abraham Lincoln font at 5 pt. Remember to check if these free fonts can be used for commercial work if you are going to sell your images or use them in products – you may need to buy a commercial license if you really like one. Most free fonts are okay to use for personal use. Also, some of the fonts do not have a copyright symbol so a different font must be chosen for the symbol – it can still be placed in the same layer that is using a different font for the rest of the text.
A little post processing info here. The top image is of an Italian Restaurant called Garlic in New Smyrna Beach, Florida – they have excellent Lasagna BTW! There were some real backlight issues with this image so those areas were selected and a texture was added and a Black layer mask was applied – now the texture only showed up where the light had been. Several Selective Color Adjustments Layers were used to get the colors just right. Viveza was used to direct the eye and sharpen just certain areas in the image. A Color Lookup Table using PS’s Fuji Eterna 250D Kodak 2395 was applied at 34% layer opacity.
It is really fun to try out different fonts in a Signature Block. I particularly like the script look, but some of the new writing-type fonts like Crimson Foam Free give a really nice new look to the block. If anyone has any questions on how to do this, give me a comment or E-mail, and I will be glad to help you out. Enjoy the rest of the summer!…..Digital Lady Syd
This week I decided to try to create a soft landscape look. A fabulous German photographer named Christian Zieg inspired me to try to achieve a similar effect. Of course there are several ways to do this both in-camera and in Photoshop. In Photoshop any type of filter using the word glow, radiance or diffusion will probably give a good start to creating this look. I tried several different ways, and the following was the best result for this image in my opinion.
This vacant beach on Spanish Cay (as of February it is now open after the devastating Hurricane Dorian) in the Bahamas used two different types of filters to get the final look. Below is how the image looked after a few basic adjustments in Lightroom.
For this image, Skylum’s (see sidebar at my Tidbits Blog for website link) Luminar 4 was used to get the original soft look. In Luminar these were the “Looks” used: In the Essentials section AI Structure was applied and a Luminar Structure mask was created so only the dead trees were selected. Next in the Creative section the Color Styles (LUT) was applied – the LUT selected was called BW_XInf preset (created by retoucher and photographer Victor Fejes for KelbyOne). By setting the Saturation to -100, the image became a black and white. Next the Glow Look was selected and set to Type: Soft Focus Light, Amount 61, Brightness -18 and in Advanced Settings Smoothness 15 and Warmth 0. The AI Structure layer mask was copied and pasted into the Glow mask, then set the Density slider to 18% so there is not much effect from the mask. By adjusting the Smoothness slider, a very soft effect can be achieved. The last step was to open the Pro section and choose Advanced Contrast where Highlights Contrast slider was set to 39, Midtones Contrast 13, and Shadows Contrast 19. At this point a preset was created called SJ Dreamy Look so the effect could easily be applied to other images. Below is how the image looked after applying the above plugin. I have to admit I sort of liked just this effect.
Now using the Luminar plugin is really great for the soft effect, but to get the dark look, a Gradient Map Adjustment Layer is added using the white to black gradient which creates a beautiful black effect with the white showing up for emphasis. Be sure you have white selected as the foreground color and black as the background on the swatch. A clip-art moon was added to the image with a Levels Adjustment Layer clipped (ALT+click between the layers to clip) to it to adjust the moon tones.
The second filter used is my favorite, Nik Viveza, to adjust the brightness of the different areas in the image and drive the eye to the moonlight. Wanted it to appear as though the moon was lighting up the island and water behind it. Then just a little clean up was done like dodging and burning on a few of the branches so they are correctly lit. (See my How to Add a Spot of Light blog to do this.) That is all that was done to get this effect and it is a lot of fun to do.
There are other ways to get the nice soft effect, but this one worked best for me. I tried Diffusion and Radiance techniques, but they did not look as good as Luminar’s Glow. The Gradient Map Adjustment Layer was great for switching up the blacks and whites. Will catch everyone later!….. Digital Lady Syd
Digital Lady Syd Related Blogs:
How to Add a Simple Glow Effect to Your Image
How to Add a Darker Background Image for a Darker Background Image for a Different Effect
My Glowing Porch Flowers!
Can You Spot the Photo Bombing Kids?
I am a little late discussing this software, but I only recently got a chance to really try it out. Luminar (for website link see sidebar at my Tidbits Blog) Flex is basically a spin-off of the bigger program, Luminar 3, meaning your images are not being pulled into a catalog for sorting. Basically it just contains the filters. Currently it is a free program so if you own Luminar 3 or Luminar 2018, please go download it. Why? See the quote below from Skylum that pretty much sums up what is happening and why you need to download it:
“We’re fully committed to our desktop editing and organizing platform in Luminar 3. But we’ve heard from many current customers and several others that they want just our editing tools for enhancing their images when working in other apps.
Our goal is to develop Luminar as a comprehensive platform which will become your go-to photography tool. With your support, we’ll be there soon.
Current workflow – Both Luminar Plugin and Luminar 3 with Libraries offer plugin options for popular photography software.
Future workflow – With the next major version of Luminar, you’ll find plugins available only in Luminar Flex. The plugins workflow will be removed from Luminar with Libraries.”
It looks like Skylum has decided to create different modules, not unlike what On1 (for website link see sidebar at my Tidbits Blog) has done with the Develop vs. Effects modules. I do not see this as a real problem since I do not use Luminar as a Raw Processor, even though their Develop filter is in Flex, to categorize my photos like Lightroom does at this point. I may decide to do this down the road, but at this point I mainly use Luminar 3 as a plugin with all their beautiful filters.
This macro image above is of a Queen Emma Lily plant, possibly my favorite bloom in my yard – you certainly notice them from the street. Luminar Flex was mainly used on this image – Accent AI Filter, Golden Hour, Advanced Contrast, and Detail Enhancer filters. A High Pass sharpen was used and Nik Viveza 2 was used on the front petal.
Both programs interface with most of the major programs including Lightroom and Photoshop. The Workspace names appear to have been renamed, but seem very similar between the two. Flex opens up with the Image Aware workspace but that can be changed by going into the the drop-down.
The major difference between the two programs at this point is with the new Accent AI 2.0 that is available with Luminar 3 but not yet with Flex – it is coming later this year (Flex is still using just Accent AI). Is this a deal breaker – not a problem since Luminar 3 still is supporting its filters but down the road it will probably only be available in Flex.
Regarding the Looks (presets), those made or used in Luminar 3 or Luminar 2018 are all compatible with the Flex, even the ones downloaded from other sites. You can either reinstall your custom Looks packs in Flex, or manually copy items between the Luminar Looks folders.
This image was taken on the water’s edge of Lake Rowena at the Harry P. Leu Gardens in the heart of downtown Orlando, Florida. Hard to believe such a tranquil place is located in all this hustle and bustle! And yes, Luminar’s Flex was used – landscapes are Luminar’s specialty. These filters were used to get this soft cool effect on a very hot day: The first layer contained the wonderful Accent AI Filter and AI Sky Enhancer Filter – both set pretty high, just a little Golden Hour Filter and Foliage Filter, the Saturation and Vibrance Filter (toning down the color a little), and the Brilliance and Warmth Filter – then on a 2nd layer above, one of my favorite filters called Image Radiance was applied. To see if I liked the filter on this image, it was placed on its own layer and the Gradient was used to remove the effect off the clouds which had gotten way too soft. One thing to watch with the Luminar filters is they tend to over-saturate the image so in PS the Saturation/Vibrance Adjustment Layer was added and the Saturation reduced to -17, even after adjusting it in the plugin. I think I could have pulled up a chair and just enjoyed the view from this point for a while, but the flowers were waiting!
About all I can say is “Thank You Mike Moats” for teaching me many years ago how to do this! If you like macro photography, he is the guy to learn how to do it right! This was taken using Aperture Mode set to ISO 200, F/7.1, and -1/2 EV with my Nikkor 60 mm Lens with a Bower 0.5 x High Resolution Digital Lens with Macro added to the lens. This center of a Neoregelia Bromeliad image from the Gardens was also taken into Luminar Flex and just a few filters were required to get this effect: Foliage Enhancer, Structure, Brilliance/Warmth, Top and Bottom Lighting (to reduce the top reddish bromeliad color from the actual bromeliad), and Details Enhancer (just using the Small slider) filters. Topaz (for website link see sidebar at my Tidbits Blog) new DeNoise AI was used to remove some of the noise (this plugin is incredible and now AI Clear is included with it. This is pretty cool -first set the Remove Noise high to 0.72, Enhance Sharpness to 0, and applied; then added a mask and painted back with a small brush set to 30% just the areas that needed a little detail brought back like the centers of the blue flowers. Got both the sharpness and noise removal at once!) Not much else was done but to add a spotlight effect in the center. This was definitely a Tiny Garden inside a Big Garden! Here is how the interface looked for this image (click on image to see larger in Flickr):
Bottom Line: Flex is definitely here to stay since it will be the only way in the future that Luminar’s filters can be accessed using Photoshop, which is what I like to do. I love Luminar’s filters because they are unique, and in a sort of odd way, their results always make me happy. I like it when my photos make me smile so that is probably why I am a big fan. Please check Luminar Flex out – it is much more than just their Sunrays and AI filters – very easy to use and the program does not make your computer go into crazy mode to apply them. It is so exciting to have so many choices and new ways of applying effects being available to us Photoshop nuts who totally love this! Have a great week!…..Digital Lady Syd
Since it is the Memorial Day Holiday here in the U.S., I am letting my Animal Buddies take over the the blog and I am going to play hookie. (Hope you all have a sense of humor!) With that, will see you in a couple weeks after a blog breather! Take it away guys!
I am a beautiful Greater Flamingo showing off my new pink beak polish (DLS: Where in the world did she get this?) at the Jacksonville Zoo in Florida. Syd took a selfie for me that involved a bit of post-processing in Photoshop to get my gorgeous looking beak. (DLS: To be honest, she had a pretty bright pink beak as it was). There’s a whole bunch of us in the pen – we love to dance and follow each other around. Please come and visit me and my large family. You can find us on the Main Path – we love it when people visit! (She has some really colorful, noisier relatives called Caribbean Flamingos further back in the zoo so visit them also – see my short blog called I Am Feeling So Sleepy!) (Check out Image 1 for pix info at end of blog.)
***** Hi Everyone! Nice to have someone visit! I totally love living here at the Lemurs of Madagascar Exhibit at the St. Augustine Alligator Farm. If you come by early when the Farm just opens, you can enjoy breakfast with me. I am a Ring Tailed Lemur and our family is headed by a female. I always check out my breakfast of tamarind and flowers carefully – I don’t like to share my food. (DLS: I think we’re seeing here a very picky eater!) I also have to share my quarters with several Red Ruffed Lemurs (Here is one sunbathing from a previous Flickr link). Usually after breakfast we all do a group sunbathe in the morning. Come on by and say “Hi” to us – we will be glad to entertain you for awhile. We have lots of fun here! (Check out Image 2 for post work on this image.)
OK, Syd thinks I wanted to eat her! Not really – I do not like to eat animals, strictly a vegetarian here. I just thought I would give her a different pose since she seemed upset I was not looking at her so she could take my picture. I am called an Eastern Bongo, which in your lingo is antelope, and there are some pretty weird stories about my species on the Jacksonville Zoo website. It says I can hang from branches by my horns and drop on unsuspecting hunters in the forest. Really??? I have never done that in my life! Where do these tales come from??? Come on by – I am near the Plains of East Africa section and either me or one of my family will be glad to give you a nice camera pose. (See Image 3 below for pix info.)
Excuse me while I get situated here! I am not sure what happened! Oh my – this is embarrassing! Well apparently Syd got a shot of me at my worst! I am an African Spoonbill – not pink like the pink Roseate Spoonbills that are always flying into our River Valley Aviary at the zoo this time of year. I spend most of my time walking in the water looking for a seafood lunch, but sometimes I like to hang out on big branches. Did you know I am the size of a 3-year old human? I will be very happy to pose for you, but do not get too close or I will run away (DLS: or lose your balance?). (Image 4 has info this pix.)
DLS: Uh….Where did these guys come from? Hi – we are dolphins that are a figment of Syd’s imagination so we decided to make an appearance even though you can’t come visit us. Pretty nice digs though? I think she was thinking about Hawaii or maybe sailing in the Bahamas. Either place is fine since we will fit in anywhere. I know Syd loves dolphins so you will probably see us make other appearances in the future. Hope everyone is having a wonderful holiday and celebrating like us! (Image 5 info below.)
All us animal buddies hope you enjoyed out blog this week. It was really fun to do something different and help Syd out with her blog. She will be back soon with more tips and maybe, just maybe she will let us do this again down the way. Everyone have a great weekend and come see us!…..Animal Buddies for Digital Lady Syd
Image 1: Topaz (for website link, see sidebar at my Tidbits Blog) DeNoise AI was applied first on the image first. Her background was created in Topaz Studio using the Impression Adjustment and the Chalk Smudge III preset where the bird was painted out. Precision Detail and Precision Contrast adjustments were used on the bird. PS’s Fan Flat Blend mixer was used to paint in the bird feathers, neck and head. The Topaz ReStyle filter was applied using the Cadet Gray and Copper preset – lots of changes in there to get the nice texture on the background. On a stamped layer, Skylum’s Luminar 3 (for website link, see sidebar at my Tidbits Blog) plugin was opened and Joel Grimes Details Warmth preset was applied at 52%. The last step was a Curves Adjustment Layer and a Levels Adjustment Layer Vignette. The font is called Style Casual, one of my favorites but is not free.
Image 2: Not much with done with my little friend here. In Topaz Studio AI Clear was applied to sharpen him up a bit. A little dodge and burning with Curves Adjustment Layers and an On1 Color Lookup Adjustment Layer set to 36% was used to pull the image colors together a bit. The font is a free one called kb Sickboy. That was about it.
Image 3: This pix was hard to post process since he was cut out of a larger image. I had to use a Blur in the background to create the DOF I wanted. The color was hard to get close to what he looked like – easy to over-color here and I am still not sure it is that accurate but he looks good. Topaz Sharpen AI was set to Stabilize and the defaults. Then just the standard (for me) dodge and burning, Nik Viveza 2, Spotlight layer and Curves Adjustment Layer to finish up.
Image 4: This Spoonbill took me a long to get right as I had a little trouble with the white feathers. Also the background was just too sharp so that had to be softened a bit. And then pretty much the same ole workflow – edges had to be cleaned up, a little sharpening, and contrast added. The font is another one of my favorites called Honey Script.
Image 5: This image was just total fun and tons of layers. The main attractions, the two dolphins, palm trees, and flying birds are all from my favorite object place, PixelSquid. The square effect is from a free action called Inception by Sparklestock which is what started me on make this composite. The waterfall is a brush from a set by Frostbo called Waterfall Set 2. The waves in the water are more brushes from Aaron Blaise’s water brushes. The overall soft effect was created by going into Luminar 3 using their new AI Filter 2.0 and AI Sky Enhancer filters along with another favorite, the Radiance filter, which gave the overall soft feel to the image. The not free font is called Fratello Nick. Nik Viveza 2 was used to even out the color in the palm fronds. Then just my basic workflow. I love doing this kind of image!
This week I watched a few videos by the Lightroom guru Serge Ramelli. Thought I would show a few things I have learned from his techniques in the last few weeks. I have found that if you follow a few of his videos, you get the main idea of how he gets the results that are definitely a signature effect for his style. I like it, but not sure it fits all my photos. This blog will show a few things I have learned from him.
He went on a safari recently and created some interesting Lightroom/Adobe Camera Raw presets so I decided to try them out. The above African Elephant image was taken at the Jacksonville Zoo and seemed like a perfect subject for my first attempt.
To download the free presets, need to go to one of his U-Tube videos where he has a link to them – How to Edit Amazing Landscape Photos with Adobe Lightroom and Photoshop or How to Remove Fence Lines: Simple Camera Trick. You must sign up for his site to get them. I do not feel these are Serge’s best videos, but I appreciate the fact that he has given us some interesting presets to try out. There are 10 presets with the download, and the one used above is called Warm Dramatic Light – it seems to be his favorite. Two Radial Filters were used to brighten up the elephant face a little light reflection on the foreground rock. Two Graduated Filters were used one on the bottom and one on right side. For the rest of the workflow, the image was brought into Photoshop (the latest PS update this week fixed the problem with opening PS from Lightroom to edit an image). I believe if one thing has changed my recent workflow from the holidays, it is Topaz (for website link, see my Tidbits Blog sidebar) Studio’s AI Clear. I am now using it on every image as my first step in PS. In this image the Clarity slider was also set to 44. A Dehaze Adjustment was also added and set to 41. Back in PS an Exposure Adjustment Layer was used on the eye and a 50% Gray layer was used to Dodge and Burn on the elephant.
Another trick I learned this week was from Jesus Ramirez, definitely a PS guru, in his Color Matching in Photoshop Fast and Easy – 90 Second Tip #05 (Phew!). This is the coolest tip which uses the Curves Adjustment Layer – check out his video as it is really short and to the point. (I may do a blog on this as it really is a good technique to have in your arsenal of PS effects.) The last steps were just a little clean up in the image. Between the nice Safari preset of Serge and the Curves Adjustment Layer of Jesus, the image has a natural African safari feel to it.
This image was created by following several videos in a class at Kelby One by Serge called Lightroom Classic Techniques for Creating Black and White Images. I felt like Serge did an excellent job on discussing this process and gave some really nice presets with the course. I have not taken any of his individual classes he sells, but for the $9 sale price, it is probably a good buy if you want to learn his black and white technique. This image used a B&W preset created in the class but he does have some that are in his free Welcome Kit (28 presets and lots of other goodies) offered at his site. One thing I did learn is when to use a black & white treatment. He says “Boring colors mean go black and white.” In Photoshop Topaz Studio’s AI Clear was applied. The image was cropped and a few spots cleaned up. A slight vignette was created using Matt Kloskowski’s technique – see my How to Create a Subtle Vignette blog. That was it – not even a Curves Adjustment Layer was needed for contrast.
This image was taken on a country road in Belarus and of course it did not have any snow. This image used Serge’s preset called Zoo Hollywood (in a free set of 6 that can be downloaded with his video called How to Turn Your Zoo Photos into Fine Art with Lightroom). In PS, Topaz Studio was opened and AI Clear applied, then Topaz Impression using the Type 03 brush. Next the Edge Adjustment was added to give some interesting edges to the cornfield. Back in PS Serge’s Snow brushes were applied – these are probably the best atmospheric snow brushes I have used – 10 of them in the set. Check out his video called How To Create Snow in Photoshop CC to download them. His video shows a few tricks to make them look good. I just had fun applying them. Nik Viveza 2 was used to even out the colors and that was about it.
Hope you get a chance to try out Serge’s presets and brushes – they are really nice. He takes a bit of a different approach to his images for processing and the presets show this. Enjoy your week!…..Digital Lady Syd
Just doing a quick blog this week – this image from The Land Pavilion at Epcot Center, Disney World-Orlando, just caught my eye this week. This may be my favorite place to see when I visit Epcot – never get tired of all their exhibits. Depending on the time of day, different versions can be seen.
In Lightroom Dave Delnea’s Backlight_Horizontal_Right preset (these appear to be unavailable at this time) was applied. It gave the original lighting effect from the window that was needed to create this image. The Camera Profile was called Crisp Warm Soft (from the LUT file in Photoshop – Matt Kloskowski gave it away). Basic section changes were done and the Graduated Filters were adjusted to fit the image correctly from the preset. Then went into Photoshop to finish up.
The background layer was duplicated and taken into Luminar 2018 (for website link, see my Tidbit Blog sidebar). My favorite Joel Grimes Indian Summer preset was applied on the bottom layer. (To download his free presets from Luminar, open the stand-alone version, click on More Presets button which opens up Microsoft Edge in Windows, choose Presets and scroll down to his Pro Photographer and Artist Presets-Joel Grimes. There are several free and inexpensive categories here. To load them in the program, go to File -> Load Custom Presets Pack – they will then show up as one of the Categories that can be selected. Joel gives us 6 presets and they are all great!) Then the Sunray Filter was added to Layer 0 – just played with the light until something looked good. Back in Photoshop, Shadowhouse Creations Dust Particle brushes were loaded and some light and dark dust was sprinkled around in the Luminar sunrays to get a reflected light effect. The last steps involved my normal workflow: added a spotlight effect on the air balloons facing the light, used a Curves Adjustment Layer to add a little over-all contrast, and lastly, on a stamped layer applied Nik Viveza 2 to sharpen the air balloons and direct the focus to them.
This image is a view taken from the other side of the room on a different day and time. You can see the air-balloons much better. Used another preset by Dave Delnea called Highlight Warming Look 3 and a few Basic slider adjustments in Lightroom. Then in Photoshop the Background layer was duplicated and Topaz (for website link, see my Tidbit Blog sidebar) ReStyle was opened. The Tangerine Gauze preset was used and set to Multiply blend mode at 50% opacity. A Curves Adjustment Layer was added for some contrast. Then Nik Viveza 2 was opened on a stamped layer to adjust the focal point just a little. That was it – I loved the detail that can be seen in this version.
Below is an older image previously posted to Flickr before I was blogging that is still different. It appears a Lucis Pro effect was added, an Ash bright green Texture 8 (which is not available anymore – it was my first set of textures I ever bought) set to Overlay blend mode, and a Hue/Saturation Adjustment Layer. Pretty basic but it has a nice feel to it.
And here is a link to a blog where Topaz Impression was used on the image called Hot Air Balloons the Disney Way. Wish I could go to Disney and Epcot all the time – it is a perfect place to get gorgeous pictures. It is always fun to see the beautiful hanging air balloons throughout the years – I hope they do not change them. And The Land Pavilion has several exhibits that are always fun to photograph. Have a good week!…..Digital Lady Syd
This has been a busy summer for me so my posts are a little sporadic. I have not used textures a lot recently but I did get a chance to look at Jai Johnson, a wonderful wildlife photographer, and her Artistry Beyond texture videos. (Of course all her textures are to die for, especially if you do any wildlife shooting.) This got me interested in trying it out again so I followed several of her tips to create both images in this blog. She does use an older Topaz interface – photoFXlab plugin (I agree with Jai – I still love this little program) – but her steps can easily be adapted to Photoshop and Topaz’s new program, Studio (for website link, check out the sidebar on my Tidbits Blog). I just finished watching her Episode 4 on Working with Harsh Light and found her tips very helpful since I photograph a lot in bright light. This beautiful little Rainbow Lorikeet (a type of Parakeet) lives at the Jacksonville Zoo in Florida. Since you are inside the actual bird exhibit, images can be taken quite easily although these birds do not stay still for long.
This image followed Jai’s Farmhouse Art concept (see her Episode 7 for more on this) which basically is a desaturated, simple, subdued and fresh appearance. I have not seen this look very often although I think it is very popular for home decorating. Usually the background is white-washed looking with neutral tones so that is what was done in this image. This image used 9 different textures (only 2 were from Jai) at different blend modes and opacities. It was surprising how nice the effect built up but it did take a lot of trial and error to get the effect. The created texture can be saved down using the combined textures as a jpg to use again on other images. Many of these textures had lots of color in them so they were desaturated using a clipped (ALT+click between layers) Hue/Saturation Adjustment Layer. Some textures were blurred to soften a little and layer masks were used on some to apply just in certain parts of the image. Also the bird had to be lightly desaturated by selecting it and using the Photoshop Camera Raw filter to soften it down. Using different blend modes at low opacities can really change how a texture applies itself. And do not forget those Blend If sliders in the Layer Style. Used all these tricks on the images. Also Nik Viveza 2 was used to help direct focus – still the best Photoshop plug-in out there!
I really like the font Blossom that was used in the word Rainbow and the Lorikeet font is Marcelle Script. A Dodge Brush set to Highlights at 30% Strength was used on a rasterized Rainbow text layer to add a tarnished effect to it. Still learning how to do this effectively, but it was fun to try.
This elephant image was also taken at the Jacksonville Zoo. Similar steps as above were taken to get this effect. This time 5 different textures (these were all different kinds of textures, several I created using Painted and Photoshop) were used. One thing I learned from Jai is that if an area needs a certain color, light or texture, just load a texture that might work and hide the texture with an black layer mask. Then paint back the areas that will add the effect you want using a very low brush opacity. This was done several times on this image to get the darker and softer effect in the corners. The little bird is from a beautiful free set of watercolor birds by Anna Faun – he really looked good with the elephant. The font is called Candy Texture and I added a little smoke effect over it to soften the text.
If you are interested in learning more about how to get some great texture effects, I would recommend Jai’s videos. She has some really good techniques I have not seen anywhere else. I will probably be another week or so before updating again……Digital Lady Syd
This week I am presenting an oldie but a goodie that was done quite a while ago. Decided to try it out again with some new images and I still like this technique. It is just slightly different from the normal Dodge and Burn techniques and very simple to do. The above image was taken on Maui, Hawaii at the very breezy Laupahoehoe Harbor.
I learned this at a Photoshop World several years ago and am not sure who even presented it. It was just in my notes so I thought I would give it a try and got some really nice results! The workflow is pretty simple:
- Duplicate the image twice after doing the basic color and tone corrections to the image.
- Add black layer masks to each layer by holding ALT key while clicking on the Add Layer Mask icon (rectangle with circle in center) at the bottom of the Layers Panel or by pressing CTRL+I in a white layer mask.
- Now on the top duplicate layer, change the blend mode to Linear Burn and name it Darken.
- On the layer underneath, change the blend mode to Linear Dodge (Add) and name it Lighten.
- Using a soft round brush set the Options Bar Opacity to 9% and Flow 55%.
- On the Lighten layer mask paint in white over areas to brighten. Do same for Darken layer mask on areas to darken. Since the Opacity and Flow are set fairly low, it will be a build up effect to get just the amount needed.
It is a very easy way to add a little color and/or focus to different parts of your image. If the effect is too strong, just lower the layer opacity. Also, the Linear Dodge (Add) blend mode could be used as a spotlight effect to fill darker areas with some soft light. For the above, the Lighten effect used the Linear Dodge (Add) blend mode at 75% layer opacity and the Color Burn blend mode did a great job on darkening with a layer opacity set to 48% – the Linear Burn was too much for the shadows in this image.
Just to let you know what is happening with these blend modes, here are the blend mode explanations according to Lesa Snider in her Photoshop CS6 – the Missing Manual book (an excellent book BTW):
Linear Dodge (Add) – “Lightens your images by increasing its brightness. It is a combo of Screen and Color Dodge modes, so it lightens images more than any other blend mode. But since it tends to turn all light colors white, it can make an image look unnatural.”
Linear Burn – “In this mode (which is actually a combination of Multiply and Color Burn), Photoshop darkens your image by decreasing its brightness. Linear Burn produces the darkest colors of any Darken blend mode, though with a bit more contrast than the others. It has a tendency to turn dark pixels solid black, which makes it ideal for grungy, textured collages…”
From this it is apparent that Linear Dodge (Add) can make an image look unnatural so take care when using it. And Linear Burn can give a grungy effect so watch the results of this. Therefore if your image does not look quite right, try changing the layer blend modes to Screen or Color Dodge for the Lighten layer, and Multiply, Darken or Color Burn (as I did above) blend modes on the Darken layer. Experimenting with blend modes can give some great effects! This image is from the Big Island in Hawaii after a short rainfall. Just painted areas to lighten and areas to darken using both the Linear Dodge and Linear Burn blend modes. Used Nik Viveza 2 to even out the colors.
Hope you get a chance to try this little technique – pretty easy to do and can give some great results. See ya later!…..Digital Lady Syd
This week I am taking a break from the technical aspect of Photoshop and am presenting a couple images which is what I consider was a lot of fun create in Photoshop. Usually when I do creative art, I start out going in one direction and end up in another. Many times there are several iterations of an image I really like, which happened in this first image – it looks pretty good in blue tones and warm tones.
The image above is from Palace of Holyroodhouse in Edinburgh, Scotland. I love to photograph the interesting details in the historical architecture that is so prevalent in Europe. The workflow for this image was actually pretty simple. Just using my basic workflow and through in a bit of Nik Viveza 2, Topaz ReStyle and several Adjustment Layers. This was definitely created with a lot of experimentation.
The image below went a totally different direction where the elements were added onto a blank layer.
This Heron had this crazy idea of what he would like to be his playground. I just had to follow his lead and created this rather “groovy” looking image. Started with this really beautiful background from Unsplash by Steve Johnson that had all the bright colors in it.Then just used several elements – some I created and a few are from other people. The really weird line art in this image is from a large Cruise Ship at night taken from a small sailboat – got sort of a creepy result that looks kind of good here but was very scary when you actually are there! My bird chose it anyway. All the elements were added to New Layers also. The sunflower is from PixelSquid. The bee is one I painted. The Tree is also from PixelSquid and the Heron is my pet, the little guy from Graphics Fairy – painted him up a bit with one of my favorite Grut charcoal brushes, Shin Ding which adds great texture on anything, to give him some matching color. The Grass is from Frostbo Set 1 Grass 03 brush. I actually added a little touch of Impasto effect on the orange block on the left using a blank layer set to 0 Fill opacity and painting with the Grut Shin Ding brush to add the texture on it. Last step I added the border using the one I created in my video and blog on my How to Create a Quick Layer Style Border or Frame.
One thing I have learned is not to throw out those really weird images you get – sometimes they can turn into something quite interesting! Hope you enjoyed it! Have a great week!…..Digital Lady Syd
This week I am just going to share a few simple border techniques I have used for years. Many people do not realize how easy it is to create these to finish off an image. Both Topaz and On1 (for websites, see sidebars at my Tidbits Blog) have some great frame filters for doing this, but sometimes you just want to finish off an image with a quick border. Photoshop’s layer styles dialog box is a great place to do this. Both plain color, pattern, and some with a bevel effect can easily be created. The image above was taken at Spanish Cay in the Bahamas. For post processing info, see Image 1 at end of blog.
Basically the process involves opening up some of the Effects in the Layer Style dialog box and just changing the settings to get something you like. I find that the Inner Glow and Inner Shadow work best for my borders, but often the Stroke effect is used also. (Settings for above are: Inner Shadow: Blend Mode Normal, Tan color swatch, Opacity 100, Angle 135 and no Use Global Light, Distance 0, Choke 67, Size 54, regular Contour map, no Anti-aliased, Noise 0; and Inner Glow: Normal, Opacity 100%, Noise 0, Swatch purple, Technique Softer, Source Edge, Choke 99%, Size 57 pixels, Contour Map 5th one to right, Range 100 and Jitter 0). The following slider information is mostly from The Photoshop Wow! book referenced below.
Settings for Both Inner Glow and Inner Settings
Size determines the amount of blur applied to the border. The greater the size, the more the Glow or Shadow is blurred so at a higher setting, it is more diffuse – thinner and spreads out more.
Increasing Choke makes the effect more concentrated – it controls the transition made from dense to transparent as set by the Size (in the Outer effects, the spread slider does the same thing). Set the Choke high, and it gives very sharp edges and set it lower to get a soft blended look.
Contour settings remap the intermediate tones that are created by the blur used to make a Shadow or Glow. Using the default 45 degree straight contour causes the blur to thin out more as it goes from outside to inside. By changing the Contour in the drop-down, different types of effects can be obtained. These can be fun so definitely try them out!
Inner Glow Settings
The only sliders I look at here are the Opacity, Color Swatch, Choke, Size and sometimes the Contour, changing to a drop-down choice. Try changing to the 2nd Contour map and you will see a thin line created inside the edge of your image for a nice single line effect.
A Glow effect is usually light and radiates evenly in all directions. Therefore a Glow has a Gradient choice in the dialog box. I have not used this but it appears that a change in blend mode would be needed to look good.
I set the Technique to Softer – I do not see much difference in my thin borders when it is set to Precise but there is a difference if the frame is larger.
There are no Distance or Angle settings for Glow effects.
Set the Source to Edge (which I always use for a border) to radiate Glow from the edge getting thinner as it moves further away. Set the Source to Center for some artistic looks that radiate color from the center outward, getting thinner as it moves away.
FYI: For use with the Contour drop-down, Range determines which part of the gradient is used for the Glow and Jitter mixes up the pixels in the gradient for less defined transitions.
Inner Shadow Settings
A Shadow effect is dark and can be offset while here Shadows only have a color swatch.
There is an Angle field showing where the light source is. If the Distance is set to 0, this does not matter what the setting is. If there is a Distance amount, then adjust it and try clicking use Global Light to set with the other effects – but make sure you like how it looks.
When using Contour map, Noise helps prevent any banding, but may help when printing. I do not use this setting for frames.
A basic large Size set to Position Inside and Fill Type Color gives a nice solid color effect. I have done this several times. This can be combined with the other two effects above for some more different looks.
For a different look set a fairly large Size and set to Inside. Then go to Fill Type and choose Gradient. The same Gradient Styles are in the drop-down and also one that only appears in this dialog – the Shape Burst gradient (it can create a neon effect, an inline-outline effect for text or a multi-color glow outer edge effect). Who knew? I demonstrate this effect in my video.
Also the Stroke effect is really good for adding a pattern effect as a border. If you have a texture you would like to use as a border, first open the texture in Photoshop and go to Edit -> Define Pattern – just name it and it appears at the bottom of your pattern list. Set a fairly large Size (like 200 px) and set to Inside. Go into the Fill Type and change to Pattern. Open drop-down and at bottom is the new pattern from the texture. This can create some really looks. Combine this with the other two effects above for more looks.
Below is a quick video just showing how to do this – it seems to be easier to look at it than read about it. If you do not see the video link in your RSS feed, please open up blog and click through.
In the image above, a very nice basic layer style was applied to get this frame. For post-processing info, see Image 2 below. This image used the same basic Effects in the Layer Styles Panel: First added an Inner Glow (set to Normal blend mode and black color, Technique Softer, Source Edge, Choke 100%, Size pixels); next the Inner Shadow (set to Normal, a peach orange color, Angle 135, Distance 0, Choke 44%, and Size 54 pixels); and finally a Stroke (Size 2 pixels, Position Inside, Blend Mode Normal, Opacity 100%, Fill Type Color, and Color Black). Pretty simple settings and easy to adjust – change the sizes and colors in the Inner Glow and Inner Shadow effects for a different look.
The African Antelope image uses one of the Star Burst gradients in the Stroke Effect. This border was created using a Stroke Layer Style and setting the Size t0 49 pixels, Position Inside, Blend Mode Normal, Opacity 100%, Fill Type Gradient using Gold Sepia (in Photoshop Toning Gradient set), Style Sharp Burst with Align with Layer checked, Angle 89, Scale 100%. If you like the result of the style, click New Style and name it. It will appear at the bottom of the canned Layer Styles when you click on the section labeled Styles at the top of the Effects list. I actually changed the color from a blue to a green for the inside color by going into the gradient and changing the 2nd from the right tab to a sampled green color. For info on how this image was post-processed, see Image 3 below.
I have some canned layer styles for download free at my DeviantArt site – then just change the colors of the Inner Shadow by clicking on the color swatch and sampling a color in the image. These work great as a starting point. Last week I added a layer style to my image using the same style as in the top image except instead of a tan color, it was a brownish gray color (see my How to Create Profiles in ACR from LR Presets and Some LUT Files blog).
The best reference for layer styles is from one of my favorite Photoshop Gurus, Jack Davis, and Linnea Dayton who created a little gem of a book called Adobe Photoshop 7 One-Click Wow! book. This book covered everything I needed to know about layer styles. Also Linnea Dayton and Cristen Gillespie co-wrote the older but still fabulous The Photoshop Wow! books which go into great detail on everything to do with layer styles.
I hope you get a chance to try this out – it can really give an image a very finished look. Until next time, have a good one…..Digital Lady Syd
Post Processing Information:
Image 1: This image was taken on a relatively deserted island in the Bahamas called Spanish Cay. There were many little hidden coves and beaches. The birds were added using a low res free stock photo and selecting just the birds with Color Range. Opened up Topaz Studio and followed steps in a Topaz video called Creating Imagery Driven by Imagination with Topaz Studio Creating Imagery Driven by Imagination with Topaz Studio. (Actual settings: Impression Adj: used the settings from Shannon Rose and saved a custom preset called SJ Acryllic Painting by Shannon Rose preset (see Lovely-pg. 18); Add mask to mask just the body of one bird and the heads of the others; AI ReMix Adj: used the Pasture (Row 3/Col 2) and set it to Opacity 0.37 and Color blend mode – applied layer mask to area in water with little island that was already muddy looking – also mask out odd color in the birds, esp the wings; HSL Color Tuning: Overall Hue 0.19 and Lightness 0.19, Orange Sat 0.37, Yellow Sat 0.37, Green Hue -0.32 and Sat -0.36, and Blue Sat -0.57, Details 0.26, Suppress Artifacts 0.08 and Color Sensitivity 0.28 – used same mask as in AI ReMix adj and Opacity 0.72; Color Theme: set to Normal blend mode, used same mask inverted to just affect the muddy water and turned it slightly bluish – changed the 3rd icon to #498727 (Lightness 0.53), 4th icon to #8ba9c7 (Lightness 0.83) and 5th icon to #e8e8e8 (Lightness 0.91); and added Second Color Theme Adj: Changed first icon to #422c16 at Lightness 0.26.) A Dodge and Burn 50% gray layer was added. Also a Color Dodge lighting layer was applied (see Digital Painting Blending Modes: 3 Easy Ways to Color Artwork by David Belliveau). Last step was a stamped layer (CTRL+ALT+SHIFT+E) and applied the above listed Layer Style settings.
Image 2: This image of a Scottish Church had a most beautiful view. On1 Photo Raw 2018’s Effects using Dynamic Contrast and Sharpen filters was used first on the image. A Color Lookup Table using the Candlelight preset was added and set to 76% layer opacity. The Warming Filter (85) was added and set to 51% Density and set to Multiply blend mode and 77% layer opacity. Then some clean up and spotlight effect on the buildings. There was a lot of window reflection in this image, so it took a lot of clean up. A Color Dodge layer was used to light up the sky a bit. A Lighten-Darken 50% gray layer was used to add some contrast. Last step adding the layer style to a stamped layer on top with settings listed above.
Image 3: This image is from a packet I recently bought from Deal Jumbo in a set called Amazing Wild Animals 2 from images taken at South Africa, Namibia and Botswana. This is a group of Red Hartebeest African Antelope. On1 Photo Raw 2018’s Effects using Dynamic Contrast and Sharpen filters was used first on the image. Next, one of my new favorite filters called Topaz AI ReMix was applied (Settings: AI ReMix Adj: Opacity 0.78, Luminosity blend mode, Style Strength High, Row 2/Col 2 swatch, Brightness 0, Contrast 1.00, Sat 0.75, Hue 0, and in mask painted out the animals lightly and more so in some of the white flower foreground; HSL Color Tuning Adj: Opacity 0.58, Orange Hue 0.10, Sat 0.02, and Lightness 0.73; Dehaze Adj: Opacity 0.62, Strength 0.54; Impression Adj: Opacity 0.71, default settings painted out the animals using an 0.58 Mask Transparency). Nik Viveza 2 was used to direct the focus of the image. A Black & White Adjustment Layer set to Luminosity blend mode and a Red Channel Luminosity Curves Adjustment Layer were added. The last step involved create a stamped layer on top and adding the Layer Style as described above.
I find Topaz (for website link, see sidebar at my Tidbits Blog) Labs and/or Topaz Studio is totally in a “league of its own” when it comes to helping digital artists take their images to a new level. Even though I have blogged about Topaz plugins and most recently Studio’s AI Remix adjustment (see What is Topaz AI Remix????), this week I am presenting a short blog and video on how I created this image using some of the Topaz Studio’s and Lab’s plugins.
The products that really are outstanding to me for creativity are: Topaz Studio AI ReMix adjustment, Topaz Studio (and previously Labs) Impression, Topaz Labs ReStyle, and, believe it or not, this wonderful little program no longer marketed called photoFXlab which uses an InstaTone program section (the 500 px and 1X.com do not work, but the other three do so it works just fine) (See my short InstaTone in photoFXlabs – Great Fun and Great Results! blog). This is not to say that many of their other plugins, like Topaz Adjust, Black & White Effects, Glow, and Texture Effects are not useful for the creative – they are great but maybe not as unique as the ones I mentioned.
AI ReMix adjustment fits right into what I like about Topaz products. It has a bit of a steep learning curve to figure out what works and what does not when trying to get that creative uncanned look. That is why I decided to do this quick blog and video. The original image was beautiful and is from a group of photos at Deeezy called 20 Free Photos from Seychelles – I like to practice with some of these free images. I did not realize I would like the results but since it has an interesting artistic appearance applied, it does not matter that I did not use my own equipment for the image. Wish I had been there to do so. If you do not see the You Tube link in your browser, please open the video from within the blog.
Steps for Post-Processing the Top Image
Once opened in Photoshop, the image was duplicated and taken into Topaz Studio where two adjustments were used: the Impression Adjustment (used Default settings but set it to Stroke Type 09) and AI ReMix (used my SJ Soft Painterly Effect in Preset dropdown and adjustment 0.27 opacity – the SJ Soft Painterly Effect has these settings: Opacity 0.27, Style Strength Low, Col 7/Row 3 swatch, Brightness 0.53, Contrast 1.17, Saturation 0.98, Hue 0.04, Smooth Edge 1.00 and Sharpness 0.50). Back in Photoshop, many tweaks were made since the adjustments had added a great creative starting point. I will not go through all the steps – they were quickly reviewed in the video – but it did take a bit of work to get the image to a place that worked for me. Nik Viveza 2 was used to help direct focus and there was a spotlight effect layer. John Derry’s Impasto Varnish Smooth layer style (no longer available-Kyle Webster had some also but I cannot find them either – try searching for Photoshop Impasto layer styles. Basically what is going is that a Bevel and Emboss layer style is added and the Layer Fill slider is set to 0 – preferably use a brush with some interesting edges to paint add the painterly effect on the layer). Used my SJ Pastel 3 favorite brush to paint over a few waves and rock edges to add some additional definition. Then a texture called Solstice Elan2 from French Kiss (for website link, see sidebar at my Tidbits Blog) was added – the same layer style was used on the texture set to 22% layer opacity to soften the whole foreground effect. Then added a frame I created in Corel Painter was added for a final more painterly touch.
Steps for Post-Processing this Image
Same steps were as above with the same Topaz Studio Impression and AI ReMix adjustment settings and clean up layers. To get this different effect, a stamped layer (CTRL+ALT+SHIFT+E) was taken into Topaz ReStyle and I used my SJ Tulips preset with changes to some of the sliders. This preset was created from a tulip image previously processed in ReStyle (see my How to Use a Topaz ReStyle Trick for Improving Your Image blog). You can actually get a very similar effect as the ReStyle filter gives when photoFXlab Instatone is opened and applied. Nik Viveza 2 was also used and Curves Dodge and Burn adjustment layers were also used. A little clean up and spotlight effect was applied but no impasto layer styles.
One thing noticed was that by applying so much post-processing to an image that was not as high a quality as a RAW file, some artifacting became apparent. On the cooler image below, I rather meticulously painted away the artifacting in the foreground mountain and rock formations mainly using a very tiny (3-9 pixel) brush at 50% strength – this took several hours and could probably use more. On the top image, I got smarter. It occurred to me to just use the Spot Healing Brush set to: Content Aware, Multiply, and Sample All layers using a small brush around 7 pixels. Just smeared long strokes over the areas – only the white artifacting was healed (colored in), but the color in the darker areas was left alone. It took about 10 minutes instead of several hours. Wish I had thought of it earlier before hand painting and healing the first image.
Anyway, I thought it might be fun for you to see how these creative plug-ins can be used together. Below are a couple recent blogs you might have missed on my Tidbits Blog showing some other image examples. Hope everyone is enjoying the Spring – looks like the weather is starting to improve finally!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Enjoying the Attention (Studio AI ReMix Adjustment)
Stand Tall (Studio AI ReMix Adjustment and Impression Adjustment)
Dodging the Fire (Studio AI ReMix Adjustment)
A Scottish Countryside Town (Studio AI ReMix Adjustment)
Four Picture Triptych with Topaz ReStyle (Topaz Labs ReStyle)
Heathcliff in Toon Lagoon (photoFXLab InstaTone)
Thought about taking a few weeks break so I can try out some things I am learning, but I am still here – I keep wanting to pass on info. I created this image just for fun and trying to reinforce a few work habits when creating this type of composite. Also thought I would add on a few more tips I promised when creating my Giraffe composite a few weeks ago. (See my Taking a Break to Learn Some New Things blog.)
FONT TIP: This image started when I downloaded a couple new free fonts from Design Cuts called Style-Casual and Style Endings by TypeSETit. At first I was not too taken by either one of the fonts, and then I realized that by using the Style Endings font for the first and last letters of the text, and then using Style Casual font to connect the rest of the text, it looked really good – along with the pretty nice fancy small “o.” A Simply Wonderful text line was created and then turned into a brush by going to Edit -> Define Brush Preset. This is really fun to do if you have some nice fonts on your computer – they can easily be turned into text brushes and .PNG files. Very could be very useful for graphic projects.
ADDING A SUBSTRATE LAYER TIP: My substrate layer was non-existent almost until the end of working on this project when I finally put the white one created in the Azaleus image (see my How to Create a Pretty Simple Background and Text Effect blog) the text added. It definitely filled in some texture that was missing especially in the lighter areas of the image. So that is one thing I learned while creating this image – be sure to add some kind of bottom level texture just to fill in the holes. It can always be swapped out later after adding your elements.
PAINT ON THE ADDED ELEMENTS TIP: Another thing I did was to actually paint on some of the elements that were put in the image. The two butterflies on the left side were from a really nice brush set by Marrielle P Kokosidou – by painting in the elements after stamping down the original element, some additional interest could be achieved. The same was true with the branch of leaves at the top (from a painted set from Design Cuts in their Nature Plant Graphics Watercolour Grit Textures set with Octopus Artis elements), additional painting was done using some other colors on it. Design Cuts is a great place to get free samples of very good elements from great artists for these type of photos. The brush I used was mainly the SJ Pastel 3-painting brush (see my How to Create my Favorite Brush blog) – use it every day along with my SJ 3 Pastel-Van Gogh TI brush. (It can be created by following my Painting Fun in Photoshop blog’s third paragraph – gives an explanation on how to make the base brush more painterly.) The other butterfly was also one from Design Cuts called Watercolour Butterfly by Octopus Artis – not much was done to the butterfly itself, but a watercolor paint stroke (stroke by Vintage Design Co. but could not find the download link) and a moon brush stroked (from 20 moon brushes by Liza Giannouri-moon 3) was placed behind it. Wanted to give credit to the people who did the flowers in this image – the pink center flower is from a frame in a set by from Creative Market (another site to follow – they have some great free sets like this one and good deals like the Hydrangea set) Ginko Textured Watercolor Graphic by Paperly Studio; and the Hydrangea flower is from Beautiful Watercolor Butterflies Knopazyzy Handrangea Flower set.
CREATE MORE PAINTBRUSHES TIP: Created a paintbrush (named it SJ Butterfly Brush 5 Row-Marrielle P Kokosidou) at a very small size and setting it to a small size with Spacing at 180%, Shape Dynamics Size Jitter 24% and Angle Jitter 21%, and a Color Dynamics set to 100% Foreground/Background Jitter and Purity -24%. It was used at the top of the image using a slight color variation and at the bottom of the image in just one color. I have brushes using hearts and bubbles using similar settings. So the tip is: make a small object type of brush to add some interest around major elements instead of just using round splotches (which does work in some cases).
BRUSH IN SOME COLOR BEHIND YOUR ELEMENTS TIP: This is something I have been doing for a while, especially using the spotlight effect with white and black color at a low opacity and the layer set to Overlay blend mode. (See my How to Add a Spot of Light blog.) It also works for any color using any type of brush – it will add some soft color into your image. The layer does not have to be set to Overlay blend mode – some very interesting effects can be achieved using other blend modes like Linear Burn – and be sure to adjust the Fill (not Layer) opacity to get some really nice effects. NOTE ON FILL SLIDER IN LAYER PANEL: The Layer Opacity will affect certain blend modes differently than the Fill slider – Color Burn, Linear Burn, Color Dodge, Linear Dodge (Add), Vivid Light, Linear Light, Hard Mix, and Difference. Check out which effect you want. Also the Fill opacity does not affect the opacity of layer effects such as drop shadows – this can be important if you have added a layer style like a stroke or bevel effect on a element. A reddish effect was added to the upper left corner. And obviously green in the upper right. The corners were subtlety darkened down using this technique to draw the eye in. Some texture was actually painted on the font lettering to add some interest by using a texture brush and setting the layer to Overlay blend mode – it really brightens up parts of the font.
A couple last things were done in this image. Topaz (for website link, see sidebar at my Tidbits Blog) Studio was opened and a black and white sketch effect was applied. It is called SJ Graphic Sketch 1 preset (contains these adjustments: Basic, Precision Contrast, Tone Curves, Smudge and Abstraction) and is up in the community if you would like to try it out. And for me the best way to pull this whole image together is to use the (Google) Nik Viveza 2 – I could not have done this without using this filter. It adjusted out the focus since so much is going on in the image and the colors by adjusting the brightness of each element and sharpness. Need to try it out and since it is still free right now and still works just fine, definitely worth using.
The final image had 43 layers and lots of tweaking but I like the final result. It is important to find a subject you want to work on – this suited me just fine since Spring is almost here! Hope this answered everyone’s scrapbook effect questions – I have learned a lot and it just takes practice to get some nice designed. Also be sure to check out my Tidbits Blog – I added a nice sharpening tip last week. Have a wonderful week!…..Digital Lady Syd
I started to write about some of the things I learned from a mixed media scrapbooking class a few weeks ago and found that it was just too huge a topic to cover in one blog. Therefore, this week I am going to discuss only a couple items used in the Pink Azaleas image blooming in my yard right now. It is so good to see some Spring flowers and these were real beauties. Think I will take next week off (I say this right now – hum!)
First a substrate for the flowers needs to be created. This is basically just a “pumped up background” layer(s). The texture often has a gesso effect applied to it. It can include typed text layers (as shown above), or various kinds of brushes to create stamps elements or strokes for color effects that make for an interesting background. It can contains multiple layers of stacked paper or texture layers using different blend modes and layer opacity to get some very unique effects. I hope to try creating my own gesso texture soon – it looks like fun but could be messy. This image used French Kiss’s (see sidebar at my Tidbits Blog for website link) Tableaux Wind Song texture for a painted gesso-looking bottom layer substrate.
To me, it seemed logical to use text that is relevant to the subject. I decided I wanted to use a little poem from Robert Louis Stevenson’s A Child’s Garden of Verses book called The Flowers (this was one of my very favorite books as a small child) as text for the image. The poem was converted into a Photoshop brush as follows:
- Go online and find some text you like on the subject.
- Highlight text and CTRL+C to copy
- Open up a Text Layer in Photoshop by choosing the Horizontal Text Tool – make sure the color swatch is set to the default Black and White (D) and the actual size of the font is not too large for the text being brought into the image – otherwise the text can be cut off at the bottom. Just start by selecting a readable size that is fairly small as it can be expanded to fit later.
- Next drag out a text block in the image in Photoshop approximately where the text will be placed.
- Inside the block, paste by clicking CTRL+V and the text will appear as black in the box.
- With the text added, it is time to turn this text layer into a brush for use in various places on a layer above the substrate layer. Make sure the Opacity and Flow in the Options Bar are set to 100%, and go to Edit -> Define Brush Preset and name it. It does not need any additional tweaking since the text is a dark black – no midtones to worry about. The new brush appears at the bottom of the list in the Brushes Panel. If the size is really large, that is Okay – it will reduce down in size just fine. If not large enough, just delete the created brush and go back to the text layer and increase the size in the Text Layer. It is harder to get clean edges by sizing up a brush so larger is better.
The brush can now be stamped down in several places on a layer above the substrate layer(s) – add a layer mask to the text layer and using a brush set to 30%, paint out some of the text so it does not look all one brightness. I applied this mask and saved the text down as a second brush and used both in the image above. If using text from a PDF document, then check out my How to Create Vintage Text for Images blog for instructions on how to do this.
If you want would like to convert the text layer to a PNG file to add as an element instead of stamping as a brush, highlight the Text layer. Duplicate the text layer by right clicking and selecting Duplicate… in menu, then in Document drop down, choose New. The document can now be named if you want – it creates a new document. Go to File -> Save As and select the .PNG format so the transparency is retained for adding as a layer into another image. This can be very handy to have as it seems to me the edges are sharper on the individual element than when using it as a stamped brush. Totally depends on the effect needed.
To finish up the image above, Topaz (see sidebar at my Tidbits Blog for website link) AI ReMix adjustment was used to sharpen the stamens in the flowers by using a black layer mask to the Topaz layer in PS and painting back areas to reveal the sharpening (here are the settings using in AI ReMix: Set to Luminosity blend mode using last row/first column swatch and Medium Style Strength. Slider settings were: Brightness -0.12, Contrast 0.98, Sat 2.91, Hue 0.10, smooth Edge 0.11, and Sharpness 0.59.) The actual Azaleas image was copied and placed on top and another black layer mask was added so the flowers could be lightly painted in so some of the text showed through in places. A Black and White Adjustment Layer set to Luminosity blend mode and 65% layer opacity was added along with a Color Look Up Adjustment Layer using the Crisp Warm preset (see Matt Kloskowski’s short video called My Favorite Tool for Styling in Photoshop) set to Color blend mode and 54% layer opacity. On a New Layer some painting was done to define edges of the flowers a little more. Nik Viveza 2 was used to emphasize the center of the flowers and add a little corner vignetting and set t0 58% layer opacity. A Red Channel Luminosity Adjustment Layer was added for a little contrast.
This is a pretty simple way to include a few scrapbook effects to an image but I think it also has almost a painterly look to it. I will go over a few more tips on how to add some more interest to a piece in a later blog. Have a wonderful week!…..Digital Lady Syd
Digital Lady Syd Related Blogs
How to Create Personal Overlays for Your Images
How to Create Photoshop Brushes from Objects or Text
Just enjoying a little Topaz Studio and trying to really understand the program. Bike image is from Flagler College in St. Augustine, Florida. (See Image 1 below to see what Topaz Studio adjustments were used to get this effect.) Will be skipping a week of blogging. Several people are very confused and uncomfortable about upgrading. I understand the hesitation since the upgrade into the new Studio interface has not been easy to understand. From the software engineer’s perspective, it has probably been a nightmare since the various plug-ins do very different things and they have to be retooled to work together. Some of the Studio plug-ins have some good updates that really help the program. Others, maybe not so much. I can only say this, even if you update to Topaz Studio, you will have the Topaz Labs filters still available and can be used on a layer in PS as before. I use them often, mainly for one reason – all my personal presets are still in the Labs plug-ins and Topaz Studio cannot reproduce lots of them. With many of my presets I just have not had the time to update them. Therefore, it is probably okay to upgrade to the free Studio interface since you will still have the Topaz Lab versions available in the Filter menu. And not only that, if you are in Studio and want to access one of the other plug-ins, just go to the Menu and select Plug-ins – they are also all there with their original interface. I find that having the Studio Clarity (the Precision Contrast adjustment) and Detail (the Precision Detail adjustment) available in one location is very handy – together they give some startling sharpness! And oddly enough, the actual Impression Adjustment has some decent beginning settings and the Painting Progress slider gives some very interesting results. If you download the free Topaz Studio (for download link, see sidebar at my Tidbits Blog), any Topaz plug-ins will be automatically added into the interface (PS lists this as Filter->Topaz Studio-> and the different types – while the Filter -> Topaz Labs are not touched). It will look different and some experimentation will need to be done, but there are lots of new options since the different adjustments from the different original plug-ins can be stacked to get even better looks.
List of Topaz Labs plug-ins currently added into Topaz Studio
At this point, here is a list of the filters that are now included in the Studio interface and which filters create the basic filter. If you owned the Topaz Labs filters, all the Studio adjustments filters will show up without buying the Pro Pack extra adjustments. To find the incorporated filters, need to go to the preset pop-out and click on the square icon with three horizontal lines in it. Set the Sort By to Featured. The first preset will indicate the Studio Adjustment workflow for each filter (for example, select Clarity and choose top preset called Clarity Workflow – the two adjustments to create the basic filter will be shown).
Clarity – Studio Adjustments are Precision Contrast and HSL Color Tuning (look at the Topaz Labs version and it is broken down into these two main components). Topaz did bring over my created presets with this filter and they also appear in the My Effects Group.
Detail – Adjustments include Precision Detail, Channel Mixer, and Basic Adjustment. (The Topaz Labs version was broken down into Detail and Tone, the Channel Mixer which is the Cyan-Red, Magenta-Green, and Yellow-Blue sliders, and the Basic Adjustment which basically contains the other Tone and Color sections’ sliders). Several of these I reproduced.
Glow – Adjustments include Glow, HSL Color Tuning, Vignette, and Smudge. (The Topaz Labs version has sections called Primary and Secondary Glow with same sliders that pop out in some cases in Studio, Color which is the same as the HSL Color Tuning, and Finishing Touches which includes the Smudge slider). None of my presets were brought over from the Labs version.
Impression – Only contains the Impression Adjustment. My presets were brought over from Topaz Labs and also appear in My Effects group.
Simplify – Contains Abstraction, Edges, and Quad Tone adjustments. None of my presets came over from Topaz Labs.
Textures – Contains the Basic Adjustment, Edge Exposure, and Quad Tone adjustments. No presets were brought over from Topaz Labs. They have added in new textures from 2 Lil Owls Studio and Hazel Meredith.
This image contains exactly the same settings as the image above except a 2 Lil Owls Studio Texture Adjustment was added at the bottom of the stack. (See image below for more information.) Image from Unsplash and Jon Flobrant.
This image is of some palm trees taken on the top of the Castillo de San Marcos in St. Augustine, Florida – the creative coloring was done in Topaz Studio. I find a lot of the tips for Studio by watching the videos Topaz Labs supplies. Even if you do not like what the presenter is creating, often you can get a couple good ideas for some presets that make for some good results. That is what happened on this one. First a preset that I made from some of the settings in Hazel Meredith’s video called Texture Effects and Topaz Studio that I named SJ Graphic Sketch 1 (it is available in the Community on line) – makes for a very nice black and white image. This was applied and a preset called Cartoon Grid from Topaz that gave the partial colored effect. (See Image 3 below for more information on this image.) I saved it down as a project file .tsp file, but it did not take. So at this point I am not sure this format is really safe to use. Luckily I had noted the settings.
I hope this has helped a few of you decide to try out Studio. It is a pretty nice program overall and it will get better as they add more Topaz Labs plug-ins and new features into it. But it will probably take a while to get it all finished I am sure. In the meantime, parts of it are really good. Have a very good week!…..Digital Lady Syd
Image 1: This image was first opened in Lightroom and just the Basic Panel was used before opening up in Photoshop. The next step was to duplicate the image and open Topaz Studio. These are the settings that were used: Precision Contrast: used Highlight Dynamic Range in dropdown; Abstraction: Used JWolfson Painting Prep in drop-down (Joel explains how to create this in his Topaz Labs video he did this week – I will add link when it is posted), then changed Simplify Size to 0.24; Impression SJ Colored Pencil preset: changed Stroke Width to -78, Stroke Length to -0.85, and spill -1.00, then set Texture to Solid; and used HSL Color Tuning – changed Orange Sat -0.40, Yellow Sat 0.55, Aqua Sat 0.63, and Blue Sat 0.39 and Lightness 0.13, and Details 0.50; Created Subtle Colored Pencil preset which is posted in the Community presets if you would like to use it. Back in PS, used a Red Channel Luminosity Curves Adjustment Layer, Nick Viveza 2 to add a slight vignette in corners, and a Levels Adjustment Layer setting Output levels to 31/255 and regular settings 0/0.76/255 – gives the slight matte feel.
Image 2: The Unsplash image was opened in Topaz Studio stand alone program and used exactly the same steps above except the HSL Color Tuning sliders were used to adjust the colors in this image and a Texture from 2 Lil Owls was added at 28% layer opacity and Luminosity blend mode. It was opened in PS and the same steps as used above were done.
Image 3: Three images were taken into Aurora 2018 HDR from Lightroom to begin post-processing. This gave a really nice sharp image back in LR. It was then taken into PS and the background layer was duplicated. Brought image into STO from PS. First Version Applied Graphic Sketch L and set to Effect Opacity 0.53; Made a few slight changes to Basic Adjustment to Exposure -0.05, Clarity 0.52, Shadow -0.32, Highlight -0.50, Black Level -0.33 and White Level 0.68; Precision Contrast Opacity 0.88 and Multiply blend mode, Micro 0.18, Low 0.20, Medium 0.93, Lighting Shadow -0.31, Midtone 0.37, Highlight 0.47, Medium; Brightness Contrast Opacity 0.44, Brightness 0.29, Contrast 0.91, and Saturation -1.00; Tone Curve – left as set; Smudge Strength 0.11, Extent -0.34, and Sharpness 0.21; Bloom hooked to Smudge set to 0.70 opacity and Screen bm, Strength 0.40, Threshold 0.62, and Bloom size 0.25; Abstraction Color Space RGB, Simplify Size 0.41, Feature Boost 0.16, Detail Strength 0.20, Detail Boost 0, and Detail Radius 0.25 with Radiance set to Screen blend mode hooked to it, Radiance Type Dark, Strength 0.82, Width 0.29, Length 0.73, Curl 0, Suppress Weak 0.12, Sat 0.76, Coverage 1.00, Fade 0.11 and Sat 0; Duplicated this version and set same settings to Effect Opacity of 1.00. Created a preset called SJ Graphic Sketch I. Duplicated this version and applied the settings above. Then applied preset called Cartoon Gold with some changes: Brightness Contrast Adj: Contrast 1.54; Smudge Strength 0.10, Extent -0.38, and Sharpness 0.02; Abstraction Adj 0.58 layer opacity, Color Space RGB, Simplify Size 0.93 and Detail Radius 0.25; Dual Tone Opacity 0.29 and Saturation blend mode; Highlight Color 1.00, Highlight 0.16, Shadow Color 0.34, Shadow Hue 0.05, and Balance 0.45. Back in PS just my regular workflow: a Red Channel Curves Adjustment Layer, Nik Viveza 2 to adjust color on the trees, and a Black and White Adjustment Layer set to Luminosity blend mode.
Hope everyone is having a wonderful New Years. I have been taking a lot of time learning about black and white images recently. This original technique was created by the fabulous Russell Brown years ago. Russell used to have a video on his website and luckily I had taken a few notes. After playing around with adjustment layers and settings, I found out it can create very nice B&W and color effects too. A benefit to using this technique for a B&W conversion is the highlights will not be blown out. The pink Vinca flower image above used this technique – check out the video to see some other variations to the image. I found this technique works really well with floral images.
The workflow is very simple:
1. First do any clean up and adjustments to the original color image to get a clean start for your conversion to black and white.
2. Add a Hue/Saturation Adjustment Layer on top, change the blend mode to Color, and name the layer Filter (like a filter put in front of a camera lens to balance the gray shades that appear on the film).
3. Add another Hue/Saturation Adjustment Layer on top and change the Saturation Slider to -100 and name it Film (to represent black and white film).
4. In the Filter Hue/Sat Adjustment Layer, adjust the Master sliders and all the individual color sliders until you get a pleasing black and white effect – this converts the colors to tones. Or use the Target Adjustment Tool (hand icon in upper left of panel) and click+drag in image to change the Saturation of the item under the icon and CTRL+drag to adjust the Hue. Try SHIFT+clicking on different areas in your image so changes can be applied to a broader range in the image – check out the bottom strip to see the color range tabs move (these tabs can be dragged manually also).
Check out my short video to see how this image can be changed with a few simple adjustments to get very different results. (If the link is not available in the RSS feed, go the actual blog to activate video.)
This image was taken at the Harry P. Leu Gardens in Orlando, Florida. The above workflow was used on this image. No tint was added, but a heavy grain effect was added which is often used on black and white images. You do not want black and white images to have too slick a look which shooting digitally often creates.
Another nice result of using this technique is that very pleasing color effects can be achieved. The image above of the London Eye used the same technique above except that the Film Hue/Saturation Adjustment Layer was set to 50% layer opacity and instead of a Filter Hue/Saturation Adjustment Layer, a Selective Color Adjustment Layer was used (as shown in the video). In Colors: Red, just the Black slider was moved right to darken the reds a little. Then the Whites, Midtones and Blacks Colors were adjusted to get the really nice highlights in the trees, the blues in the sky, and the nice soft reflection in the water. To darken down the whole scene a little, my favorite Color Lookup Adjustment Layer preset called Foggy Night was added at 20% layer opacity. Nik Viveza 2 was used to get the soft sunset effect. I was really surprised how nice this came out using the same basic technique. If the Film Hue/Sat Adjustment Layer is set to 100%, the image goes back to a black and white image, and the Selective Color Adjustment Layer will just adjust the tones in the image. Try using the Color Lookup Adjustment Layer on top with the black and white to get a nice overall tint to the image.
Hope you enjoyed the blog – I was surprised how easy this is to do. I created a very basic Action by just adding the two Hue/Sat Adjustment Layers with the workflow changes. Have a good week!…..Digital Lady Syd
This week I discovered a very easy way to create those glitter textures that are everywhere and would be perfect for the upcoming holiday season. Thought I would share this easy process and a couple of images on how I used them. The image above uses the dark blue glitter texture from in my video to create a soft sparkling background effect. This technique was described in a 2012 video tutorial called Music Lights by Dom Quichotte at FX-ray – it has lots of other interesting tips also. See my short video that demonstrates just how to create the texture effect. If you do not see the link in the RSS feed, please open the blog and it will be available.
If you are not a video person, or want a quick reference for steps on how to do this, here is the workflow for the glitter effect:
- Create a Document – the standard size for most textures is 8″ X 10″ at 300 resolution.
- Fill layer with a color to make your glitter texture. I used a dark blue color (R20/G30/B55) in the tree image above.
- Set the color swatch to the default colors Black and White by pressing D.
- Create a New Layer and fill with black – ALT+Backspace.
- Go to Filter -> Render -> Fibers and set Variance to 64 and Strength to 4.
- Change to Color Dodge blend mode.
- Go to Filter -> Other -> Minimum and set Radius to 2 pixels.
- Go to Filter -> Other -> Maximum and set Radius to 2 pixels. Now have a beautiful sparkling background.
- To add a little variation to the texture, add another New Layer and go to Filter -> Render -> Clouds and set to Overlay blend mode. If you do not like the cloud pattern created, press CTRL+F or just open the Filter menu item and select first option to generate a new pattern.
- Go to Filter -> Distort -> Spherize and set Amount to -100. Adjust opacity to taste.
- Save document as a JPG in your texture folder.
- To change the color of the glitter effect, just add a Hue/Saturation Adjustment Layer on top – check Colorize box, and move the three sliders to get the new color. On the tree image, a Gradient Map was added on top of the blue texture to create the subtle multi-color background – in this case it was a brown to white to light blue to dark blue. (For more info on Image 1, go to bottom of blog.)
This image is the one shown in my video. The PNG file was created from the blue glitter texture also created in the video. Just followed the steps below. (For more info on the Hawaiian Flowers Image 2 above, go to bottom of blog.) To create a PNG of the just the sparkly points, continue with these steps:
- Open the Glitter jpg image and duplicate the layer.
- Go to Select -> Select Color Range and drag the eyedropper tool around in image until it looks like a nice starry look. Be sure Localized Color Clusters are checked and adjust both the Fuzziness slider (I set to 52) and the Range Slider (set to 100%). At this point it should be mainly black color with light points showing up as white in the filter window. Click OK.
- Add a layer mask to the duplicate texture layer and the light points appear as white in the mask but will probably have some color in them in the layer – add a white layer underneath to see what was selected.
- Right click inside the mask and select Apply Layer Mask.
- Turn off the other layers and go to Save -> Save As and select PNG file format.
Now you have a transparent texture with just the glitter highlights. To make the glitter color all white like snow, add a Hue/Saturation Adjustment and set the Lightness to +100. For black glitter set Lightness to -100, or change the color any way with the sliders. Duplicate the transparent texture and to to Edit -> Free Transform to spread the glitter out some – Perspective was used below. Then go to Filter -> Gaussian Blur and set a Radius to something like 3 to create a softening effect on that layer. By stacking the two PNG files, it can create a really nice snow effect. See below for how I used the PNG texture in the image of a Scottish Close in Edinburgh. (For more info on Image 3, check below.)
I really like being able to create my own effects instead of having to worry about buying them or finding out they cannot be used for commercial projects. I hope to continue creating blogs that will help others create their own resource tools. Well that is it for this week. Have a good one!…..Digital Lady Syd
Image 1: For the Magic Tree image, first painted a tree trunk and branches freehand on New Layer above white background, then the glitter background was placed directly underneath it. The tree leaves were brushes created in Corel Painter’s using the Symmetrical Tool and different Painter brushes. The PS new Technology called Paint Symmetry is just not quite as good yet although one brush was created and used. I ended up with 16 new brushes used on the tree along with some little glitter brushes to give the magical look. Next the image was taken into Luminar 2018 where just two filters were applied: Soft Glow and the Golden Hour. They both really lightened up the tree and made the snowflake edges less sharp. Last step was back in PS where Nik Viveza 2 was used on the image to adjust the whole color tone.
Image 2: Not much here other than the blue texture was used and a Turquoise Solid Color Fill Layer was added clipped (ALT + Click between layers to clip) and set to Color blend mode for the greenish color. The white Hawaiian flowers were extracted and placed on top. Next the Sparkling Blue Glitter PNG was added on top of the flowers. To change just the color of the dots on just the flowers, select the flowers from the layer before by CTRL+clicking on the flowers, then select the Hue/Saturation Adjustment Layer – the layer mask will show just the flowers in it. The Hue was set to 33, Saturation 98, and Lightness -5 with Colorize checked. A Levels Adjustment Layer was added to adjust the contrast in the image. A darken layer and flower lines layer were used to clean up the flowers.
Image 3: One iteration I created of this image is a very warm sunny day effect. I also liked the cool wintry effect. Lucis Pro (no longer available) was used to get the really sharp look. Nik Viveza 2 was used to darken down the image some. Lots of clean up layers. The snow was created using the steps above – duplicating the layer and blurring it – a Black and White Adjustment Layer was used to convert the color all to white.
This beautiful image was originally a black and white taken on one of the last days of the NASA Cassini-Huygens Mission using its Wide Angle Lens. The Moon Tethys is in the upper left background. My original thought was to just try painting different colors into the rings to get an unnatural but pretty color effect. To my surprise, Topaz Studio using both Clarity and the new Detail adjustments were a quick answer to get the beautiful result.
Here is the workflow followed to get the above results:
- First downloaded the image from the NASA Cassini-Huygens Mission site – scroll halfway down to find image pia21342-1041 where both tiff and jpeg files can be downloaded. The image above used the tiff file, but the jpeg file worked out pretty good even though it had such a small resolution. (The bottom image of Mimas was two jpeg files that were 59 and 67 KB.)
- Open in Photoshop and go to Image -> Mode -> Grayscale and change image to RGB.
- Go to the Image -> Image Size – set resolution to 300 by unchecking the Resample box, enter 300, and recheck (the jpeg file is at 72 ppi but the tiff file is 300). Can now go in and change size in inches and set to Preserve Details (enlargement) in drop-down menu if needed. Can also Reduce Noise if noticeable at this point.
- Duplicate image and open Topaz Studio – apply my SJ Saturn Rings. The preset has been uploaded to the Topaz Community. The colors were set in the Color Theme Adjustment so the colors in the rings can be changed to any colors wanted by just clicking on each square in the New Color Theme settings swatches and selecting new colors.
- Added a Green Luminosity Curves Adjustment Layer to increase the contrast just in the green channel. (Same technique as using a Red Luminosity Curves Adjustment Layer – see my How to Use a Red Channel to Create a Nice Blended Image Effect blog.)
- Since Detail was just added to Studio, a composite image (CTRL+ALT+SHIFT+E) was created above and went back to Topaz Studio -> Detail. Since I am having trouble with my presets and am working with the Tech Team, the settings are just listed here (Detail in TSO – Overall-Overall Small Detail 0.34, Small Detail Boost 0.67, Medium Detail 0.51, Medium Detail Boost 0.31, Large Detail 0.53, and Large Detail Boost 0.31, Lighting Midtones 0.29 and Highlights 0.63. In layer mask painted out the rings and left the background dark to keep noise under control – used brush set to Mask Transparency 0.80. Channel Mixer Adjustment – Adjusted Lightness Channel-Red 1.73, Green -0.23, and Blue 0.34, then painted out background so only just the rings received the effect). Back in PS the layer was set back to 80%.
That is all that was done to this image. It was a lot of fun and I love the results, even though the rings are not quite those colors. The point is that it took only a few minutes to do this image – no hand painting – it just picked up the colors. The Color Theme Adjustment did most of the color work and then Detail’s new Color Mixer Adjustment tweaked it a bit.
This updated Detail is much like the updated Clarity as it is also divided into two adjustments: Precision Detail and Color Mixer. Since it just came out, I do not have much experience working with all the sliders – the Channel Mixer Adjustment appears quite different from the original Topaz Detail 3 interface. But I am enjoying having the sliders available for quick use when needed. Here is a quick reminder of what some of the sliders do in the new Precision Detail Adjustment:
Small Details – Affects visibility of fine details in image
Small Boost – Weakens or strengthens the smaller details
Medium Details and Medium Boost – Affects visibility of the medium details with Boost weakening or strengthening the effect
Large Details and Large Boost – Adjusts visibility of the large details with Boost weakening or strengthening the effect
Sharpen – a new slider added – it does seem to add in more detail.
There is a new section called Lighting which contains sliders for Midtones, Shadows, Highlights, Black Point and White Point – same sliders from Detail 3 except the Midtones slider has been added and the Exposure and Contrast sliders are now removed.
The Channel Mixer Adjustment was also added to complete the update of the old Detail 3. It contains a totally new interface from the original Tone section that contained Cyan-Red, Magenta-Green, and Yellow-Blue sliders – these correspond to the Red, Green and Blue channels in this adjustment. There is also a Gray swatch which represents the Lightness of the image. I need to find out more on these sliders, but each have Red, Green, Blue, and Constant sliders. In the Adjustment Preset drop-down, there are several presets (Cloudy Evening, Faux Infrared Landscape, Red Contrast, and Red Green Switch) that can be tried out to see what happens with these sliders. A Maintain Brightness and Monochrome toggle switches were also added. Lot to explore here.
The image above is a composite of an upper and lower level NASA images taken in March 2017 from the same site. Topaz ReStyle was used to introduce the color palette. Topaz Studio’s Precision Detail Adjustment, Color Theme Adjustment, and Impression Adjustment were all used to get this almost poster like effect. For the Precision Detail Adjustment, a layer mask was opened and Luma was selected so just the moon was selected and the background was black – Luminosity slider 0.11 and Range 0.01. In PS Saturn was added in on separate layers with some brushes I had created a long time ago. On a final stamped layer on top, Nik Viveza 2 was used to soften the rough edges between the sharp shadow lines of the moon.
A couple of things I noticed – it appears that they are removing the older versions of the plug-ins in the Plug-ins drop-down and just adding them into the Studio Adjustment lists. Am checking on this as I would like to have the old ones still available. Also, there appears to be the original category preset choices on the left side that correspond to the plug-in being used by clicking on the drop-down menu under the Search field.
Try downloading some of the wonderful imagery from NASA and see if you can create a magical feel. Just remember all the beautiful Hubble images were originally black and white images and the colorization used is similar to what was created in this blog. Hope you have a wonderful weekend…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Lots of times I have found or created a texture I really like that I would like to use in an image but not sure where. So this is a blog on how to create images for that texture, and possibly get your creative mind going. Not particularly a new concept, but a little different approach for using texture. It also gives you a chance to brush up on your compositing skills and try out some nature brushes. The image above is an example of my using a texture that I created in Corel Painter and used in this image originally.
There are not a lot of steps to this process. Just open the texture above a white Background layer in case the texture needs to be set to a different blend mode or opacity amount. Next add elements and/or text, and finally do the finishing steps as if post-processing an image.
That is exactly what was done above – here is the workflow for this image to demonstrate the steps. The texture was added and left as it is. Next Photoshop’s tree filter was used to create this pretty foreground tree. If you have not experimented with this filter, give it a try. (For more on this see my How to Create a Photoshop Artistic Tree.) It is so much fun! These are my tree settings – most of the settings were changed to get the tree effect shown above. (Base Tree Type: 19: Fraxinus Griffithi which is an Evergreen Ash, Light Direction 85, Leaves Amount 22, Leaves Size 130, Branches Height 94, Branches Thickness 77, Uncheck Default Leaves and select 8: Leaves 8, Uncheck Randomize Shapes Arrangement 21.3.) A layer mask can always be added if you do not quite like the way the branches look – in this case some of the leaves were too dark so a 30% brush was painted over them in the mask to lighten them up. The Liquify Tool can also be used to get the branches sitting just right. A Hue Saturation Adjustment Layer was clipped to the tree to make it more golden in color to match the texture. The texture looked like a golden wheat field to me so a little red barn from PixelSquid was added – a mask was added so the bottom of the barn could be removed and hide it from view. The layer was set to 55% layer opacity so it is looks a little less sharp and more distance. I love the brushes by DeviantArt’s ninelvlsup and her Dandelion Whisps brush was used in the foreground. Some of the edges were removed with a layer mask. The birds are from a Flypaper Bird Set that I use all the time. To soften the effect of the birds, a Pattern Fill Adjustment Layer was clipped (ALT+click between the layers to clip) to the birds and a yellow and red pattern was used. The bird layer was set to Multiply blend mode at 77% layer opacity. The last element is the single bird from the same brush set called Big Crow Fly Birds brush – it was duplicated and the top layer was set to Multiply blend mode at 65% layer opacity to emphasize the bird a little more. The elements are now in place. A stamped layer was created (CTRL+ALT+SHIFT+E) and Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle was opened. There a different color palette was applied – one that was less bright and yellow and created a cooler color tone – the preset was created from another image. (See my Flagler Beach Pier image for color palette used.) This layer was set to Color blend mode. The final steps are what I generally do when finishing up a regular photo image. Not all my steps were used here but a lot of them. A Levels Adjustment Layer was added to add some contrast back. On another stamped layer Nik Viveza 2 was used to shift the focus back over to the bird from the barn. On a New Layer a little spatter brush was used to give the grass a little life – I wanted it to look like little bugs flying around. A soft orange Light Leak was added to the top left for a bit of color in the sky. A Red Channel Luminosity Curves Adjustment Layer was added to pull the whole image together. The last step was to add a layer style to the edge for a soft brown border – just an Inner Shadow set to Normal blend mode, brown color, Distance 0, Choke 53, and Size 29; and Inner Glow set to Saturation blend mode, Opacity 100%, white color, Softer Technique, Edge, Choke 0, and Size 250 pixels. Know this got a little long, but it is a pretty good example of how to pull a composite effect together once the texture is chosen.
Below are two examples of using basically the same elements in the same place but used with different textures that give a totally different look. This image used a really colorful background texture that I created using a whole bunch of the brushes in Grut’s Inky Leaks Splatter Brushes, which are fabulous brushes. Here is a link to how this texture was used before. It gives a subtle effect especially in the sky in the above. Here is a quick run-through of the steps using a very similar workflow. The tree was created using the PS Tree filter again (the Pine Tree 2 was used) and duplicating and flipping it to make a second one. The deer element is from Tara Lesher (could not get weblink to work). Frostbo Grass Set 2 brushes were used. The flower under the large tree is actually from a recent Checking Out the Buds Tidbits Blog. I try to save out anything that could be used again for other images. The flying ducks are also from the Flypaper Bird set above. A light leak was added on right side. A Van Gogh preset was applied in Topaz Impression 2 – a layer mask was used to paint back the deer, birds and tree trunks. Three more textures were used get even more of a painterly look: one of mine which had yellow and a slight bluish vignette around it and set to Darken blend mode at 57% layer opacity (used Topaz Texture Effects in PS to create it), 2 Lil’ Owls (for website link, see sidebar on my Tidbits Blog). The Grey Collection 3 was set to Overlay blend mode, and her Ancient 1 set texture 2 was set to Linear Light at 28% layer opacity. Nik Viveza 2 was applied to adjust focus. Last step added a Color Lookup Adjustment Layer using a Candlelight preset – it was set to Linear Burn at 10% layer opacity. Pretty much the same as above but very different result.
In the image below I wanted to show how a different texture gives a very different result. It contains the same basic elements except that the grass was created using Aaron Blaise‘s Foliage brush set and Directional Fur and Hair brush set. I was really surprised what nice flowers and grass can be created with these brushes. The texture is another one I painted in Corel Painter. The font is called Winter Holidays. I am not sure I have ever used this texture before but I like it. The reason this image looks so different is that the PS Lighting Effects filter was used to set the lighting on the right side. Otherwise the image was post-processed as the first one.
Recently I have been watching many Photoshop videos. This week I thought I would share some quick tips that I am finding to be very handy. These may be obvious things to many of you, but all of the tips below were new to me. For info on the Blankets image taken at the Native American Festival, see bottom of blog.
Add Noise to Bring an Image Together
This really works and looks nice, especially if a texture was added for a background or creating a composite. Just go to Filter -> Blur -> Lens Blur and set all sliders to 0 except the Noise slider which is set to 4 and Distribution Uniform. Very subtle but nice effect.
Okay – this is something that I never knew was in Photoshop, but what a major time-saver it is (unfortunately it is not in CS6)! We all know pressing the SPACEBAR turns any tool into the Hand Tool, but did you know it can be used to also move the image around the workspace? Go to Edit ->Preferences -> Tools and check the Overscroll box. That is is! What a time saver. Now the image still stays attached as a tab, but it can be moved around to avoid panels opening in the workspace or for close up painting.
Rotate View Tool
Here is a tool I have never used much but will be. It is indispensable when trying to paint in a certain direction or draw black lines around objects. The Rotate View Tool (R) icon is hidden behind the Hand Tool in the Toolbar. Need to select it and then click on your document. A large star-shaped pointer icon appears that indicates the direction of the image – adjust by spinning the document to the angle needed. The cool thing to know is this tool has a “springboard” R key – this means that while painting, just hold down the R key and the pointer icon will appear in the image to readjust the angle, let go, and continue painting! To return image to upright, just double click on the icon or press the ESC key. It is very quick and handy to use. Try it and I bet you will like it also!
Printing Out the Steps to an Action
The individual action steps cannot be printed out, but all the actions in a set can be printed out. To do this, highlight the set that contains the action you want to see. Next hold down the ALT+CTRL keys and Open the pop-out menu in the upper right corner of the Actions panel. Do not lift up on mouse, but just scroll down the menu to Save Actions. When the explorer opens up, the file will show a .txt extension instead of the regular action .atn extension. Now the action steps will be listed when file is opened. This is really handy if you are trying to figure out exactly what settings are being used or to trouble-shoot a action that is not working properly. Who knew!!!
Preparing Image for Web
A famous portrait photographer suggested this tip to use after saving your image for print. Add a Levels Adjustment Layer to image and set Black tab to 0, Midtones to 0.95, and White tab to 255, then set Output Levels sliders to 5 and 250. Will look better on the web. To create a more matte appearance, set the Black tab to 14 to flatten out the shadows.
When Scanning Old Photos – What Resolution is Needed?
If you want to make an old image into a larger size, before scanning image create a New Document to the size of 8 X 10inches at 240 pixels/inch for example. Once created, go to Image -> Image Size and in the dialog box uncheck Resample Image box and enter one of the dimension sizes of the original old photo being scanned, say 2 ½ inches into the Width field. Photoshop will show in the Resolution field the number needed for scanning (960 pixels in this case) to make this image 8 X 10 at 240 ppi. Set scanner to 960 pixels to get the image to look right for printing. This is ingenious!
Adjusting Skin Tones That Do Not Look Quite Right
I tried this tip a couple times and it works really well. Add a new layer above a person with bad skin tone and set the blend mode to Hue. Hue shifts just the tones when used on a New Layer. Sample new skin color and paint with 100% brush opacity and a low flow of no more than 2% on skin – it warms up the skin just a little. To adjust lips, use Hue blend mode on painted lip layer. Try using the Color blend mode if Hue is too subtle. By adding a little blue tone to this layer on skin that is too yellow, the skin can look much better.
Select and Mask Command
This command (to be used once a selection has been made) seems pretty much self-explanatory, but there a few things to consider when using this dialog. Did you know that if you hold the ALT key down while pressing the Refine Edge Brush, Brush Tool or the Quick Selection Tool, it will switch between the Add (+) and Remove (-) setting. I have been trying to use the X-key and it does not work. Apparently I forgot this was used in the Refine Mask dialog box. This is a very handy tip for me.
Also, when using Output Settings, check out your image with both the Decontaminate Colors on and off – it does not always create a good result. Note that in CS6, the Refine Mask dialog box actually has a slider where the amount of decontamination can be set – I really liked this slider but they have removed it in the Select and Mask Command dialog box. If you really want to use this feature in CC 2017 just click on the layer mask or create a selection, go to Select -> SHIFT + Select and Mask and the old Refine Mask dialog opens up. Now the Decontaminate slider is available. There is a slight controversy among some Photoshop gurus as to which dialog is best. I personally like the new Select and Mask as it has many more features, just not a slider for decontamination.
Once back in Photoshop if you missed some areas while in the dialog, just duplicate both the layer and layer mask several times to build up the selection.
Merging Layers and Blend Mode Issues
Have you ever noticed that after merging layers, the blend mode goes back to Normal? If a color shift occurs after merging, this is what has happened and the blend mode probably needs to be reset.
Sometimes when creating a stamped or composite layer (CTRL+ALT+SHIFT+E) on top of the Layer stack, a slight color change occurs. This has driven me crazy on several occasions! By setting the stamped layer to Color blend mode, the image colors will go back to the original underlying layer color before the layer was created. This shift seems to occur after using several blend modes and layer styles on different layers with varying the opacities. There probably are other ways to fix this, but I find this tip works pretty well.
History Log Metadata
This is one tip I have used for a long time and it has saved me when I forgot what settings I applied. Create a text History Log of every step that done on an image by going to Edit -> Preferences -> General and check the History Log and the Metadata radial button. Now when you a apply for example a Levels (not as an Adjustment Layer), the settings used can be found by going to File – > File Info and selecting the Photoshop section (History tab in CS6 at top) – a list of everything done to that image will appear. In CS6 can be exported as a .txt file, but in CC need to select all the text (CTRL+A) and paste (CTRL+V) into a text editor like Notepad. Right now some of the settings from external plug-ins will show up in the settings , but this is not working on the newer ones. For example, it currently lists Topaz Adjust actual settings, but only lists that Topaz Texture Effects 2 was used but no settings. Google Nik plugins and On1 2017 products have the preset used listed but no setting info. Also, the actual brush and settings being used will not show up, but if a Tool Preset brush is used, it is listed without its settings. That can be very helpful too. This log stays with the PSD file so you can always go back to it, unlike the actual History Panel states and snap shots.
I hope some of these tips were helpful – not real hard things to do, but just handy to know! Have a nice weekend!…..Digital Lady Syd
Notes on Blanket Image: I wish I knew who was selling these beautiful blankets, but I am sure most of the Native American Festivals will have them for sale. In Lightroom used Kim Klassen’s Melancholy preset to give more of a wilderness feel right from the start. Did a little adjustment brush work on the blankets. In Photoshop on a duplicate layer, Topaz (see sidebar at my Tidbits Blog for website link) Restyle was opened and a Cold Frosty Day preset was applied with a few corrections. This layer was duplicated and Topaz Texture Effects 2’s Crisp Morning Run preset was applied next, set to Color blend mode and a layer mask was opened to remove some of the effect off the birds in particular. The Blend If sliders This Layer tabs were adjusted. A clean up layer was added to remove the price tags. Two Curves Adjustment Layers were opened, set to Luminosity blend mode, and one was set for darkening the image and one to lighten – then both layer masks were inverted to black and just areas that needed more emphasis were painted back. A Spotlight Layer was created, set to Overlay blend mode at 37% layer opacity. Next Nik Viveza 2 was added to add a little focal direction to the image. A Color Balance and Levels Adjustment Layers were added. A Red Luminosity Curves Adjustment Layer was applied. French Kiss’s (see sidebar at my Tidbits Blog for website link) Glorious Grunge Edging was used as a border with a dark blue Solid Color Adjustment Layer clipped (ALT+click between layers) to add color to it. It was a pretty long workflow but I liked the final result. These blankets were really nice!
While visiting the St. Augustine Alligator Farm Rookery, I decided to take a spin around some of their other exhibits and see what was going on. In fact that is where the An Army Tortoise Tidbits Blog image started. Well not only are the Florida birds having babies, but so are some other bird inhabitants, the Vultures – in fact there were two chicks born in recent months. Above is a wonderful Cape Griffon Vulture baby boy chick born on March 4th. For some reason he is being raised by a foster mom (Sefara as seen in the image) and foster dad (Kwa) – I can honestly say they keep all the other birds away from him. He is only one of four hatched chicks in North America and all were born here. Below is a family portrait of the Hooded Vulture chick with her family. This baby was very quiet and I could hardly see her in my camera, but apparently she had spotted me. This baby girl was born on February 24rd and is sitting with her parents Ashaki and Bosco (the adult bird that acts a lot like her mother). It looks like the dad is wearing a tux quietly in the background! Both vulture species are on the Endangered Species list. Lots of noise going on in this exhibit!
Enough about the birds – they are just so fascinating! Not a lot was done to the Cape Griffon Vulture image other than my overall workflow with a pretty good dose of Topaz (for website link, see sidebar in my Tidbits Blog) Detail 3 to pop those feathers just a little. (Here are the settings used – apply to images that are a little soft in places, especially on birds and their feathers: Small Details 0.60, Small Details Boost 0.12, Med Details 0.22, Med Details Boost 0.22, Large Details -0.02, Large Details Boost -0.08. I called this preset SJ Add Detail. Add a black layer mask (click in white mask and press CTRL+I) to the layer after exiting out of the plug-in and just paint back where needed in the image. Use a large low opacity brush like 20% and build up the effect to make it look natural; use a smaller brush on dark lines that need to be more emphasized. It is easy to overdo this so try adjusting the layer opacity to reduce the effect.) Used a couple Exposure Adjustment Layers on the eyes and beaks (see my How to Do a Quick Eye Sharpening in Photoshop blog), and Nik Viveza 2 to adjust the focus more onto the chick and less on the Mom. Used Matt Kloskowski’s subtle vignette (see my How to Create a Subtle Vignette blog). A Hue/Saturation Adjustment Layer was used to emphasize just a couple colors in the image, keeping it mainly in a light sepia tone. Birds can be tricky when shooting – it seems like they are perfectly still, but they actually are moving a little bit of a wing or foot or something. When you get ready to process their images, it is easy to see. Birds are pretty amazing and agile.
For the Hooded Vulture Family portrait below, pretty much the same work process but without the desaturating effect. This image was actually not as good since they were way off to the side and I had to do a massive crop. Not much of the Topaz Detail 3 plugin effect was added into this image – just in a few places like with the dark area of the back bird and a few of the Mom’s bird feathers.
Well hope everyone is celebrating a great Mother’s Day or at least giving your Mom’s a call! We only get one day a year to enjoy the kids we are so proud of, just like the Cape Griffon Vulture and Hooded Vulture Moms!…..Digital Lady Syd
Just another quick post to pass on a pretty nifty short tutorial that Chris Spooner at Spoon Graphics posted this week. It is called How to Create a Water Painting Effect in Photoshop and it was pretty easy to follow. I have tried it out on a couple different images using different paper, painting brushes, and a few different filters after applying the ones he suggested. Since a Smart Object is created to get the base effect, images can be swapped out without changing the rest of the set up or border once created.
This image is one I took from Stirling Castle in Scotland. After applying the filters and adding a layer mask, a border was created using the McBad Brush 30 that Chris links to in his post for creating the watercolor effect border. In the Brush Panel, try changing the Shape Dynamics Angle Jitter of the brush to something pretty high like 70% to get some nice edge work on the border. For this image, a stamped (CTRL+ALT+SHIFT+E) layer (with the Paper border layer turned off) was created on top of the layers but underneath the border paper. Topaz (for website link, see my Tidbits Blog sidebar) Impression 2’s Abstract Settings-Blake Rudis preset was applied and set to, of all things, Division blend mode at 0.50 opacity. It gave the image more of an overall watercolor effect. I think many of the Impression presets would work well with this technique. A New Layer was added and using Grut I Dusty Covet Brush, lines around the tops of the buildings were sketched in to add a bit of realism and definition to the roofs – then lowered the layer opacity to 80%. On another stamped layer (with the paper layer off) Topaz ReStyle was applied – this time I had a preset created a while ago, but there were probably 20 presets that looked good on it. It seemed to even out the colors that in the final image. To give the image a real watercolor look, Grut’s W Mud Puddle Watercolor Brush was used to extend out the edges of the image into the border with strokes and paint in some solid roof colors and tree areas. As a side note, Nicolai at GrutBrushes has some really good things going at his brush site: a free brush every week (I definitely take advantage of this as different media brushes are presented), a free Photoshop Brushes Sampler with lots of nice brushes and a free Watercolor Brush called Cherry Pectin that is also in the sampler. The Cherry Pectin brush would have worked great for painting border edges also. I think this made a huge difference from the slightly canned look the original tutorial supplied. The image was way too vivid for my taste as a watercolor, so a New Layer was filled with white above and set to 16% layer opacity to calm it down a bit. The last step was to add Nik Viveza 2 to draw the eye to the orange buildings in the lower left corner and the painted bridge.
Well, still taking it easy but wanted to share – hope you get a chance to try out this technique. Chris Spooner has several nice tutorials on his site you might also like. Later…..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
Yesterday I had an opportunity to visit one of my very favorite places to photograph our beautiful Florida birds, the St. Augustine Alligator Farm Rookery. By visiting at various times of Spring, different types of birds and behavior are present. But beware, it is a pretty busy place for not just birds – if you get there early, you are trying to negotiate lots of photographer tripods, and as the day wears on, a myriad of kids arrive. All good fun though! This week the Wood Storks, Snowy Egrets, Blue Herons and Roseate Spoonbills were all very busy making nests. Therefore I had a chance to shoot lots of flying birds with all kinds of branches and leaves hanging out of their beaks. Will be posting these on off over at my Tidbits Blog especially. Hopefully I can return in a couple of weeks when there will be a lot of baby chicks.
The Snowy Egret and Roseate Spoonbill somehow both showed up in my image. I think I was trying to shoot the spoonbill, but the egret was also flying and I did not even see him until I looked at the photos in Lightroom. There were so many birds flying around that it was sometimes hard to capture them as they flew really close over your head at times. For me I keep my camera on Aperture mode at F/8 and shoot in continuous mode to capture as many shots as I can and hope one of the images will be sharp. Learned a lot about shooting birds from an old KelbyOn (NAPP at that time) video by Moose Peterson on taking images of Florida Birds. He is one of the best bird photographers around and has a great blog with lots of tips.
All the blog images were post-processed in Photoshop just using the same basic workflow I always use: First make sure no noise is in the image and fix that with Topaz (for website link see my Tidbits Blog sidebar) DeNoise 6, then Lucis Pro 6.0.9 (no longer available at the point) or Topaz Clarity (sometimes Topaz Detail depending on the image) to slighting sharpen the whole image (use a layer mask if needed), use a Red Channel Luminance Curve Adjustment Layer, a Black & White Adjustment Layer set to Luminosity blend mode, and finally the free Google Nik Viveza 2 – this filter is a must. Viveza can really help even out the light and sharpen areas that need just a little boost. It can also add that subtle vignette needed in some images. If you have not tried it, do so – use control points to pinpoint the areas that need adjusting. Still my favorite all-time Photoshop filter! There are tutorials on all these different techniques so just search in my blog to find more info on any of them.
These little chicks were recently hatched to a Roseate Spoonbill and may be the first group to have arrived. They were so cute. At first it seemed there were only two in the nest, but the little guy on the left was in all the images. It is really easy to miss things until reviewing the shots at home. The light was a little harsh but they still looked pretty cute to me.
This Snowy Egret was trying to get away from the crowds but the light was so pretty on his plume that he was quite noticeable. The grace and poise of the Snowy Egret is quite striking, especially when compared to the beautiful, but really clumsy Roseate Spoonbill. The spoonbills all see to have a lot of personality. And Wood Storks just sort of stay up high and stare you down. If you spend a little time watching the interactions of the birds, it is really entertaining!
I frequently use images shot at the Rookery and here are some past photo links for additional Rookery views:
Birds of the Rookery
Great Egret Babies
Cattle Egret Looking for Love
Singing Spoonbill Duet Takes Rookery by Storm!
Very Busy Snowy Egrets
Coming in for a Landing!
A Happy Couple
I guess this post is a little different for one of my blogs, but it was so much fun to see these beautiful birds and wanted to share what an extraordinary place this is. If you are in Florida from April to the end of May, definitely stop by the Rookery in St. Augustine – the birds won’t mind and its always a day to remember! Oh yes, taking a week or two off blogging to finish up a couple classes I am taking. Will catch you on the other side. ….. Digital Lady Syd