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Posts tagged “PhotoFrames

Selective Color on a B&W Image for Impact


Sometimes I like to just have one or two colors in an image for more impact and artistic appeal. There are many ways to do this in just Photoshop itself – some as simple as using a Black and White Adjustment Layer, a Channel Mixer Adjustment Layer (with the Monochrome box checked) or the Hue Saturation Adjustment Layer (with the Saturation slider set to 100), and in the attached layer mask painting back in the areas you want colored. I decided to use some of the wonderful Photoshop plug-ins that are available and all images in my post today are using them. The above uses probably the most powerful black and white plug-in made – Nik’s Silver Efex Pro 2 (SEP2). This image is of the steps up the side of the Keck Telescope on the top of Mauna Kea on the Big Island in Hawaii. I loved the way the stairs made such a striking line against the white of the building and how the deep blue color matched the sky. I could actually imagine climbing up there and looking around and down at the telescope lens! Now that would be a cool shot! Since there were a lot of distracting colors in the image, the decision was made to convert it to a black and white to remove it, but wanted to retain the beautiful blue color. In SEP2 adjustments were made globally to the image using the Neutral preset and then control points were placed strategically on all the blue areas with the SC (Selective Coloration) sliders opened up to 100% to let the color show through. Nik’s Viveza 2 was used to even out the sky and that was about all. Very simple processing for a very simple image.
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Here is another image (from the Hawaiian Waikoloa Village on the Big Island in Hawaii) using Nik plug-ins: First Viveza to add contrast and sharpness to several elements in the image; next SEP2 where control points were placed on the lounger and the water where the color was to appear – adjust the SC slider to 100% to get the full color showing up (or set it lower for just a little color as shown in the water area); and finally Color Efex Pro 4 using the Detail Extractor and the Glamour Glow filters (set to an overall effect of 73%). Back in Photoshop a Gaussian Blur layer was added to slightly soften the background – a gradient was applied to a layer mask to do this and the close up tree trunks were painted back in. The original image was way to busy with the full color applied, but with the blue and cool tones applied, it makes for a relaxing image of Hawaii.
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The image above was taken while walking to Fisherman’s Wharf for dinner in San Francisco in the winter. I had a really difficult time getting the look I wanted. This image originally had a very  tungsten yellow look that was corrected in Lightroom. I knew it needed a lot of work but I did not want to get rid of it since it represents to me what San Francisco is all about. After trying many different plug-ins and Photoshop tools, this dark foggy image was the winner. It was really cold, windy and damp outside and this is exactly how I remember it. There were two things I had trouble working with – the bright street light and the soft shot from taking the image at night without a tripod. My camera (a Nikon D300) is not the best at night. One other thing that really improved this image was the crop – it took several attempts to get the balance I was looking for.  There was little color in this image to being with, so I already knew it needed to be processed as a black and white image. Therefore, I went back to another of my favorites, Topaz Black and White Effects (see sidebar for website  link at my Tidbits Blog) using the Classic Traditional preset with adjustments. This plug-in is somewhat like SEP2, but does so many different things that it is hard to compare the two. Both are excellent products and I would be lost without either one of them. The windows were painted back in to bring out the soft warm glow feel. The last step added the Fog 1 preset in Topaz Lens Effects to enhance the fog that was already present to some extent, but this could have been painted in using a fog brush on a separate layer and adjusting the layer opacity. Also, I did use Imagenomics Noiseware on this image at the beginning as it had a lot of noise – they just came out with a new version and I am trying out the trial. So far I love it!
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My last example is perhaps my favorite since it came out so sharp and clean. Believe it or not, this wonderful little mill sits outside the Big Thunder Mountain Roller Coaster (here’s a pretty lame U-Tube of the ride but it does bring back memories!) at the Magic Kingdom in Disney World, Orlando, Florida. Once again, several attempts were made at processing this image with the red mill being the focal point I wanted in color. I ended up using OnOne’s Perfect Effects (see sidebar for website  link at my Tidbits Blog) to get this terrific look. I keep forgetting how powerful this program can be and yet it created such a low distortion to the image even though there were four filters stacked to get this result: Black & White Grainy Film preset with the mill and center area of the image painted back in to show the color, Photo Filters Tobacco, Glow Black Soft, and Vignette Big Softy. The masking feature in this program is fabulous and it took just a few minutes to mask in the colors I wanted.

Conclusion: As I said, there are many ways this can be done – you do not have to have the plug-ins. I do believe Photoshop’s Black and White Adjustment Layer is quite a powerful tool to turn you images into really beautiful black and whites. Most of the plug-in effects can then be accomplished using Hue Saturation Adjustment Layers or Selective Color Adjustment Layers. Even Curves and Levels Adjustment Layers can add some real interesting colors and contrast to an image. The plug-ins I used here do add a lot more dimension to an image in a very short time to get effects that take longer to do in just Photoshop, so I do recommend you try out any of the ones I mentioned. Experiment around and see what you can get. As you can see, it took me several attempts and I even walked away from an image for a day, to get the results I wanted. The really nice thing is that if an image is just too busy and there is too much color in it, try adding a quick B&W Adjustment Layer to see if converting it to a black and white can calm it down. If so, then try different Photoshop tools or plug-ins to bring back color on where you want the viewer to focus – it can make what appeared to be at first glance a bad picture into a great one!……Digital Lady Syd

Digital Lady Syd’s Related Blogs:
NIK’s Champion Plug-in – Silver Efex Pro 2
Topaz B&W Effects Plug-In – A Real Winner!
Where Am I?
Black and White Photo or Not? Give It a Try on That Difficult Image
Loving Both Filters!


Unsharp Mask Filter In LAB Mode


I have been experimenting with all types of sharpening methods over the last few months. I really liked the High Pass Sharpening method that is very popular, the new improved Sharpen Tool in Photoshop CS5, and the Smart Sharpen Filter that so many use. Recently I read Harold Davis‘ book The Photoshop Darkroom where he gives steps to sharping in the LAB Mode. I have now started using this method – it takes a little more time to do, but I believe it really gives the best results. Since I take a lot of time with my images, like to print them, and don’t batch process, it is important that each image gets the best sharpening I can do.

The above image of the fruit shop along the road on the Big Island in Hawaii is an good example of how nice the sharpening can be in an image. Both Nik Color Efex Pro 4 and Topaz Simplify 3 (see sidebar at my Tidbits Blog for website link) were used in Photoshop to get the rich colors. The LAB sharpening was done after most of the adjustments were made to the image in Lightroom and Photoshop.

Why use LAB Mode sharpening? The most important reason people use it is to keep the colors true and not be influenced by any color shifting that other RGB Mode sharpening may produce. By using a black layer mask, the image is first over-sharpen and then just areas that need the sharpening can be painted back into the image selectively and to various degrees so it does not  have that over-sharpened look. This process also works really well on portraits where just the eyes are sharpened or on areas you want to draw attention to a certain part of an image.

The workflow steps to get this effect are easy:

1.  Apply most of the filters and do  clean up to your image before the next step. Just be sure there are no adjustment layers in the document or they will be discarded upon the conversion. You will need to save the image as an unsharpened version and then flatten it to proceed.

2.  Go to Image -> Mode -> LAB – Click “Don’t Rasterize” and “Don’t Merge” buttons.

3.  Duplicate the layer by clicking CTRL+J.

4.  Go to the Channels panel and highlight the L channel.

5.  Turn on the top eyeball so all channels are showing but only the L channel is highlighted.

6.  Go to Layers Panel and to Filters -> Sharpen -> Unsharp Mask.  I like Harold Davis’s recommendation to start with these settings and adjust from this point.

Radius  2.7   – The higher the Radius setting, the more sharpening occurs
Threshold 9   – The lower the Threshold setting, the sharper the image
Amount  – somewhere between 50-120

Watch out for noise enhancement, especially when adjusting the Amount slider.

7.  Add a black layer mask to layer by holding down the ALT key and clicking the Layer Mask icon at bottom of Layers Panel. Using a soft white brush set to 30% opacity, paint back in the areas you want sharpened leaving areas with noise or over-sharpened edges unpainted. Paint over several times to enhance the effect.

8.  Go to Image -> Mode -> RGB and press the “Don’t Flatten” button. Now you can add your Curves Adjustment Layer and frames to finish up.

Dan Margulis (one of the first three people ever inducted into the Photoshop Hall of Fame) is the most knowledgeable person when it comes to using the LAB Mode and has written the best book ever on the subject, Photoshop LAB Color. He covers LAB sharpening very thoroughly.


Here is another example of how great this type of sharpening works – it is great to be able to localize where the actual detail is emphasized. This old vintage car was parked in front of the Casa Monica Hotel in St. Augustine, Florida. It is a three image HDR photo processed using Katrin Eismann’s workflow – see my blog HDR Using Photoshop Merge to HDR and Nik”s HDR Efex Pro and Silver Efex Pro? Wow! (used Granny’s Attic preset in HDR Efex Pro and Structure Harsh in Silver Efex Pro). Nik’s Viveza 2 was used to increase the detail and color in the wheels and curtains in the windows. Then it was taken into the LAB mode and processed using the Unsharp Mask Filter (settings Amount 98/Radius 9.4/Threshold 1). Using a brush set to white at 30% opacity, the wheels, curtains and lettering were painted back in. I wanted the rest of the image to have that grungy old feel to it which HDR Efex Pro gave the image. OnOne PhotoFrame (see sidebar at my Tidbits Blog for website link) Kevin Kubota Flower was added as a last step.


The LAB Unsharp Mask was used on this image of an elephant puppet from Burma that was on display at the Hilton Waikoloa Village on the Big Island in Hawaii. To see how it was processed see my blog Nik Color Efex Pro 4 Just Does It Right! The sharpening was applied as the last step and it was selectively painted in to just the details in the elephant but not the background. This really made the details in the puppet stand out.  Also all the images but the Lightroom image in my blogs Can a Pseudo HDR Image be as Good as the Real Thing? (Part One) and Can a Pseudo HDR Image be as Good as the Real Thing? (Part Two) used this method on the bicycles very successfully.

I am not really sure why, but I definitely see an improvement in sharpness using the LAB method of sharpening. There are times when not that much needs to be sharpened in an image and the Sharpen Tool is enough or Nik’s Viveza 2 adds enough sharpening so this process is not necessary. I do think it works really great on my landscape and HDR images where I want a very clear edge on most of the objects. Give this easy method a try and see what you think…..Digital Lady Syd


Adding a Texture for Flair!



This week I am going to discuss textures since I suggested using them in last week’s blog on “The Soft, Dreamy Look,” which created a free action to apply to your images. Textures are a very popular effect and can give a totally nice and different look to an image if applied correctly.

Basic Technique

The basic technique involves just adding a texture image (a jpg can be added to a raw, psd or tiff file at this stage) on top of your image. Do this by dragging the texture into your photo as a Smart Object from Photoshop Bridge or just open the texture file and copy and paste the layer onto the photo. At this point I usually rasterize the layer by right-clicking on the Smart Object in the Layers Palette and select Rasterize from the menu. A Smart Object is not necessary unless you are applying a filter to the texture and may want to adjust the settings at a later date. Most texture effects are achieved by changing the layer blend modes and varying layer opacities, then using layer masks to delete out areas where the texture is too obvious. The uniqueness can come from stacking several textures using different blend modes and opacities.  There are many resources available on textures and how to use them effectively. The linked article, called “Tips for Texturing Photographs,” has several great tips – some that I want to share.

  • How do you match your image subject to a texture?  Look for subjects with a soft quality like flowers, misty images, or of simple composition.
  • Figure out what you are trying to do with your picture – fill open spaces, get a painterly look, vintage feel, or grunge look?
  • If the texture does not work, try a different one. Usually match the texture strength with the subject – soft textures for flowers, stronger textures for structures.

If using textures over photos of people, please check out this short video, “Guide to Using Textures with Photos in Photoshop  (must be a member to access now),” to adjust the tone on the people and their skin. It uses the Average Filter in Photoshop instead of layer masks.

Textures can be bought or downloaded for free

There are many beautiful textures that can be bought. Florabella Collections has two very nice sets of textures. I like the Ash Textures that I purchased several years ago, but I just figured out he is no longer selling them. This is a shame since they are really nice textures. Flypaper Textures (blog linked above to Tips for Texturing Photographs) also has some very nice textures for sale. This site also has a lot of good information on textures so take a look.  Caleb Kimbrough has released several hundred textures, some of excellent quality and most are free, at his website Lost and Taken. He has also written a really nice blog entry called “How to Create Subtle Grunge Textures” that shows how to make your own interesting textures by combining several different ones.

The top image uses a very popular effect.  It is made simply by adding a worn-looking board texture at Hard Light blend mode over a flower photo (Curves Adjustment Layer on photo gives the blown out look). This particular texture is one from BittBox, another great free texture site – this particular texture can be downloaded from the Bittbox Flickr site here – just select the size you want, right click on image, and choose Save Image As to save on your hard drive.

This image was created using a brownish Ash texture layer set to Hard Light at 75% opacity and one of Caleb Kimbrough Summer textures, which I really like, set to Overlay at 73%.


The daisy image started with my “SJ-Soft Dreamy Look Action” that I created in last weeks blog. The image can be cleaned up on a layer before applying the action since it does not require a labeled Background Layer to run. An Ash Texture was added using the Hard Light blend mode at 75% opacity, and an OnOne PhotoTools (now OnOne Perfect Effects 3.0 – website link at my Tidbits Blog sidebar) layer using the HDR Enhancer effect and HiKey Color – Cool Fade preset as a second effect layer (I am getting some nice results with its stacking capabilities). The OnOne PhotoTools effect was basically a darkening of the edges and brightening in the middle, a heavy vignetting feel. Finally an OnOne PhotoFrame was added.

Textures can be found in plug-ins

As shown in the daisies above using the OnOne PhotoTools 2.6, this plug-in has many texture options as does its sister application, OnOne’s PhotoFrame, which surprisingly has many textures that can be applied with various blend modes, just like in Photoshop’s Layers Panel.  Even plug-ins like Plugin Galaxy 2.0 have some interesting effects, such as Rain-Short Streaks, Snowflake effects, and  Color Effects section, which can add some interesting textures. You just need to play around with whatever filters or plug-ins you have and start trying different settings with them.

Once again my action was applied to the Scottish home picture which starts you off with a really nice soft look (create a composite layer or CTRL+ALT+SHIFT+E  layer on top of the action layers to apply the plug-in). An OnOne PhotoTools 2.6 Overlay Effect with the Antique Paper preset at Normal blend mode and 100% opacity was added. A similar look could probably be achieved by adding a final Color Fill Adjustment Layer using a golden tone or a Photo Filter Adjustment Layer using a warm color at a fairly high density, and a layer mask to reduce the color in the house area. That is all that was done to get this nice look.

This image does contain a brownish Ash texture, but any darkish brown texture would look good, set to Vivid Light at 38% but the painterly effect of the sky was achieved in Topaz Lens Effects – with the Graduated Color Blue1 preset applied. Then the layer was copied and set to 62% opacity to make the sky bolder.

Textures can be created within Photoshop itself

I want to show that a texture does not have to be some fancy texture that you have to buy or download – it can just be a really nice paintbrush effect on a layer that you create. Then just experiment with the blend modes, layer opacities, and layer masks to get the exact feel you want.

The above image of Scotland has a rather vintage feel to it. This was accomplished by running my SJ-Soft Dreamy Look Action and then creating a New Layer above and using Grungetract Brushes Sample #16 by alex16 at deviantArt at 2500 pixels with a light tan color. The brushed layer’s blend mode was set to Screen, the layer opacity to 66%, and a layer mask was added using a 50% opacity brush to mask out the texture in certain areas.

In the floral photo, a coral colored Mixer Brush layer was created above the other texture layer using a 300 pixel brush, and was set to Soft Light blend mode.  (See my blog “Adobe Photoshop CS5’s Mixer Brushes” for more information on the Mixer Brushes.) It can be quite addictive once you start playing around with the Mixer brushes and create some beautiful textures. I found that the by varying the size and the color of the same Mixer Brush, and actually painting with them by moving slightly, you can get really nice effects. I have included my favorite texture Mixer Brush that can be downloaded here (there area two brushes – same brush at different sizes) and added to your Tool Presets. (Put the file in the User Name -> AppData -> Roaming -> Adobe -> Adobe Photoshop CS5 -> Tools file. Restart Photoshop to add brushes to your Tool Presets – go to the top upper left corner icon under the Menu line and click on down arrow, click on right pointed arrow in upper corner to open fly out menu, and select Load SJ Mixer Brushes Presets. I usually Append the tools and they will appear at the bottom of the list. NOTE: You must have the Mixer Brush selected in the vertical Toolbar to get the Mixer Brush variations to appear in the Tool Preset drop-down.)

This is a very simple example of applying texture that can be done just using Photoshop. First two New Layers were created and the Mixer Brushes I created above were used, the small brush in beige on the bottom layer and the larger one with the same color on the top layer to create an interesting texture. A layer mask was added to the top layer to bring out the center part of the flower. Now here is the neat part, a New Layer was created and a gradient applied with the Gradient Tool . This image used Graphix1 Gradient Muted4 which is a white to yellow beige color, but try out different gradients to see what effect you like. In the Options Bar select the Radial Gradient icon and drag with your cursor from the center of the flower outward to create the gradient. Set the layer blend mode to Soft Light and add a Bevel and Emboss Layer Style (2nd icon from left at bottom of Layer Panel) and double click the Texture option.  This image used the Fractures Pattern Overlay, which is located in the Texture Fill set of patterns that come with Photoshop CS5, and set the Scale to 555% and the Depth to +34. Create a layer mask to darken the center again so the pattern is not as apparent over the center of the flower. That’s it – a texture applied that gives a really different look. Try other patterns – you can find lots of them on the internet.

And don’t forget the nice filters that come with Photoshop to create pleasing textures.  I really like the Texturizer Filter using the Canvas texture set to Relief 3 to add a painting touch to an image.

Conclusion

I have tried to show that adding texture to an image can be done in many different ways and the different techniques can be combined to get some unique looks. Once again, it is just another way the versatility of Photoshop makes it so much fun to use. It is so satisfying to create your own textures that can actually go towards creating your own artistic style. Have fun creating!…..Digital Lady Syd