Topaz Clarity is Here! I was surprised that Topaz (see sidebar at my Tidbits Blog for website link) was coming out with a new plug-in and am finding that I actually love it! It is very different from any of their other plug-ins. So what are we talking about here? In a nutshell, this program provides two major features for your images: the use of Dynamic sliders to add contrast by using variations already in the image, and the use of their IntelliColor Technology (keeps unwanted color shifts under control) by adjusting the Hue/Saturation/Luminosity of the image. I believe that Clarity does exactly what you expect a good plug-in to do – it takes a canned program’s limited capability and creates many more options, which is especially useful for that difficult image or for us “creative types.” This plug-in lets you create a very natural, sometimes quite stunning, look without any halos or artifacting (and that alone is a major accomplishment!). I am confident that I will use this plug-in on most of my images now that I have learned how to use it. The above is a farm located outside Minsk in Belarus. I have included the original RAW file images throughout the blog as I believe this is the best way to see what the plug-in can really do. See Image 1 info below for more on how it was post-processed, the Clarity settings used, and the before and after images.
WHAT I LIKE!
1. The fact that the four Dynamics sliders are very similar to my very favorite Dynamics slider in TopazFXlab and Topaz Simplify. I believe it uses slightly different technology, but Nicole at Topaz Labs describes these four sliders as the original Dynamics slider “on steroids.” They do a great job of bringing out detail (using contrast instead of detail size) without looking unnatural. It has a really subtle sharpening feel to it. This alone is why this program is worth getting!
2. The Hue/Saturation/Luminosity sliders can be targeted to specific areas of your image easily. I like the Overall sliders at the bottom of each section that can give some very surprising results – sometimes just the thing to pop your image! And once again we get Orange (for skin tones) and Purple sliders which I really love. And if you have used Detail or photoFXlab, you know how good the IntelliColor technology is.
3. The addition of Color Range Brush and Feather Brush. I am still working on using these effectively, but so far they are proving to be quite useful. I like that certain areas of my image can be targeted by color(s) – saves a lot of time trying to get your selection in the Masks sections just right. The Color Range works very much like the one in Photoshop, which I use all the time. The Feather Brush is really nice since it now has the capability of softening or sharpening a selection’s edge as needed – once again similar to Photoshop’s Properties Panel for their layer masks. These are both great additions for the Masks panes. (And don’t forget this little Color-Aware Brush that is hidden with the Content-Aware Brush – it is becoming my favorite mask brush!) There is also a Gradient Tool Feature in the brush area that can be handy when working on your masks too.
4. I like that I can create more than one preset collection. I am finding it handy to have one that only addresses Hue/Sat/Lum Section changes and one for the Clarity Section changes. And you get previews for all of your own preset too!
5. The Dynamics/Tone Level section and the HSL Filter sections can be left open at the same time so that you can go back and forth between them to make adjustments very quickly. Small thing but really saves time. Unfortunately this is not true with the two Mask sections.
6. Overall Opacity sliders at the top of each section is proving to be very handy to use – works like the Layer Opacity slider in Photoshop or the Overall Transparency sliders in their other plug-ins. (This is different from the Overall sliders in 2.)
7. Maybe the best thing I like is that Topaz pushed the bar a little and tried something new. There is no one out there that I have found recently who is creating new plug-ins or effects to make your Photoshop experience a little better. Kudos to the staff for this!
WHAT I DON’T LIKE! (Not much)
1. It needs an Apply button so several different presets can be added since the Dynamics and Tone Level effects are so different from the HSL sliders effects. It would so nice to be able to stay in the program and selectively add the different section changes to the image instead of exiting the program and re-entering the plug-in for each change. My understanding is that they are trying to implement this shortly.
2. It can be a bit time-consuming to work on a mask that is at 1:1 – you have to keep hopping back into the Navigator pane to move the preview box to the next area to paint in. They need a toggle shortcut key or something else to make this easier. I left a request with the Topaz folks so hopefully this will be an option soon. On the good side, the Mask pane is much larger and easier to see than in their other plug-ins.
3. Would love to be able to copy the Clarity mask to the H/S/L mask and vice versa. Right now you have to create it again if you want the same areas selected. Possibly a shortcut key would be all that is needed here too.
4. This is a small nag, but when you zoom in on an image to mask out some eyes or something really small, the brush size is really hard to get to a reasonably small size. Some brush preset choices would be nice also, as they have in Black & White Effects.
This image is actually of some beautiful bright red dahlias (see original below) that I planted in my front yard recently. Since I do not have an Apply button at this point, Topaz Clarity was actually opened three times, on three separate layers, by exiting, duplicating the layer, and going back into the program. For info on the processing and Clarity settings, see Image 2 notes at end of blog. No detail or color enhancers were required – it was all done with the sliders in Clarity. What was so nice is that it was relatively easy to give these flowers a totally different look without a lot of hassle. When playing around with HSL sliders in other programs, it is almost impossible to get two radically different colors on something that was one color to begin with – and make it look believable. Below is the original RAW file as it was brought into Photoshop (and yes, I did add a flower in the top right to balance out the image).…..
Below, this rather ordinary tourist shot taken of Umauma Falls on the Big Island is a good example of the results after processing with just Clarity, showing much improved color and contrast. This image would have been a great HDR candidate due to the large tonal range, except that there was no place to set up a tripod. Since I had the opportunity to get just a few quick snaps of this gorgeous waterfall, Clarity really gave me exactly the feel I wanted to accomplish in the first place. Considering this was a marginal hand-held, very shadowy shot, it turned out much more natural than an HDR tone-mapped image would have created!
See before and after close ups below. See Image 3 note at end of blog for more post-processing info. …..
The photo above is just a little bit of a change up here. This image, taken from Edinburgh Castle in Scotland, used Topaz Clarity and Adjust to get this slightly artistic effect. Clarity was again applied three times and Adjust once. I really love to combine several different Topaz plug-ins, especially in photoFXlab (check out its InstaTone tab to get some really creative results), to try out different looks. See notes for Image 4 below for details on how this image effect was created.
It is hard to imagine that these beautiful Zinnias were adjusted using only Topaz Detail and Clarity, but it is true. I was really pleased at how I could get an almost illustrative look to the flowers by using Clarity. For more info on how this image was processed and my Clarity settings, see Image 5 notes below.
Topaz Clarity is a great addition to the Topaz arsenal of plug-ins. I am not going to quit using Topaz Detail 3, my most used plug-in, just because of its release, but I am finding they work quite nicely together. This plug-in is definitely a great alternative to that over-the-top HDR effect that comes with too much sharpening, or even the over-application of Detail or Adjust. I think it would improve almost any kind of image you apply it on. It does take a few minutes to figure out exactly what each of the sliders will do. But once a combination is found, it is easy to set up a preset and use this as a starting point for your particular type of processing. And once again, you get it at a reasonable price and the Topaz guarantee that upgrades will always be free! Just another quality product from a quality company!
I will be doing more experimenting with this plug-in in the coming weeks and will share my findings, so stay tuned. Download a trial and give this new plug-in a try. You might be surprised at your results – I was!…..Digital Lady Syd
NOTES FOR POST-PROCESSING OF IMAGES
Image 1: No changes in Lightroom except cropping and checking Enabling Profile Corrections and Removing Chromatic Aberration. Once in Photoshop a preset I had created was applied in Topaz Clarity. (Here are the settings for my Very Vivid Sharp preset – Clarity Section-Dynamics: Micro Contrast 0.84, Low Contrast 0.56, Medium Contrast -0.31, and High Contrast -0.09, and Tone Control were all left at 0. In the Hue/Sat/Lum Section: No changes to Hue; Sat – Red 0.25, Orange 0.13, Blue 0.06, and Overall 0.17; and Lum – Red -0.81, Orange -0.09, Green -0.08, Blue 0.23, Magenta 0.33, and Overall -0.12. Then the Blue Lum was adjusted to -1.00 and Sat t0 0.22 to bring out the clouds a little more. See middle image below. Since I felt this whole look was a little too much, the layer was duplicated and this layer was taken into Clarity again. This time a preset I created with a more desaturated look was applied and the result is shown in the left image. (Here are these settings: Clarity Section-Dynamics: Micro Contrast 0.50, Low Contrast -0.42, Medium Contrast 0.03, and High Contrast -0.27; and Tone Level: Black Level 0.25, Midtones -0.37, and White Level -0.52. Hue/Sat/Lum Section: No changes to Hue; Sat – Overall -0.45; and Lum – Red -0.10, Orange 0.10, Yellow 0.10, Green 0.10, Aqua 0.10, Blue -0.10, and Purple -0.10) This gives a bit of spooky look to the image but the opacity of this layer was set to 28% to give the too bright effect a little softening. What an improvement to the clouds! Click on image for a larger view in Flickr.
Image 2: I did nothing in Lightroom except apply the Lens Correction Profile and check Remove Chromatic Aberration before taking the image into Photoshop. Cleaned up some spots on the flowers with the Spot Healing Brush and then into Topaz Clarity. First the Macro preset Flower 1 which changes only the Clarity Sections (Dynamics and Tone Level sliders) was applied. Then the Color Aware Brush (use eyedropper to sample the color first) was used in the Mask Section where the middle red flower was painted to keep the effect from applying on it. Since I wanted the opposite effect, the Invert icon was clicked so now just the middle flower contained the Clarity settings. Said OK to apply this to image and duplicated this layer. Entering Clarity again, the Reset button was clicked to start over. This time I wanted the three small flowers to be softer and a different color. This time only the Hue/Sat/Lum Section was used. To get the yellow flowers, the Hue Overall slider was set to o.41 to get all yellow flowers. In Lum settings, the Orange was set to 0.72 to lighten the center to give a greenish look, and the Overall Lum slider was set to 0.08 just to lighten up the flower color a little. Again these settings were applied and in Photoshop a layer black mask was added to this layer and just a touch of the pink color was brought into the petals. To get the painterly look, Painted Textures Creamsicle texture was layered on top using Soft Light at 100% opacity. The top painterly looking border was created using 2 Lil’ Owls Studio Bonus Texture 4 (see my Tidbits Blog sidebar for website link), turned 180 degrees, and turned into an overlay. (See Related Blogs below for more info on this.) Any border you have would work, but what is interesting is that the border was a then opened up in Clarity and the whole color scheme and contrast was changed. (These are the settings used: Dynamics: Micro Contrast -1.00, Low Contrast -1.00, Medium Contrast 0.26, and High Contrast 0.69; and Tone Level: Black Level -0.72, Midtones 0.16, and White Level -0.03. HSL Filter: Hue settings: Orange -0.44, Yellow 0.50, Green 0.33, and Overall -0.42; Sat settings: Orange -0.20, Yellow -0.11, Green -0.66, and Overall -0.09; and Lum settings: Orange 0.11, Yellow 0.08, Green -0.53, and Overall 0.09. Created Textures preset.) Note: When you change the Hue of an item, and then go to the Saturation or Luminance sliders, be sure you adjust the same sliders and not the new color sliders- there will be little or no change. In other words, if you change the Red Hue to a Yellow color, when you enter the Saturation sliders, you will need to still adjust the Red Saturation to adjust the actual yellow color saturation. Took me a minute to get the hang of this.
Image 3: Lightroom was only used to crop the image, add a Lens Correction profile, and check Remove Chromatic Aberration. In Photoshop the Background layer was duplicated and then Topaz Clarity was opened where the Landscape-Color & Contrast III preset was applied. The Micro Contrast slider was changed to -0.22, and in the Clarity Masks section the waterfalls were lightly painted out – they were sharper than I wanted for the water effect.
Image 4: First just HSL adjustments to the whole image; second time the Landscape Midday I preset was selected with the effect removed from the sky using the Clarity Masks section – and adjusting some of the HSL sliders; then my favorite Adjust preset – French Countryside – was applied as is; and finally Clarity’s Cityscape I preset was added. 2 Lil’ Owls (see my Tidbits Blog sidebar for website link) Color Bokeh Grunge Set – overlay 2 was added to give a slight vintage vignette effect using Vivid Light blend mode at 74% layer opacity.Image 5: Just the same Lightroom changes – Lens Correction and cropping. If you would like the illustrative look, here are settings: in Clarity Section – Dynamics: Micro Contrast 1.00, Low Contrast 0.28, Medium Contrast -0.50, and High Contrast 0.06; Tone Level: Black Level 0.61, Midtones 0.14, and White Level 0.72; and in Hue/Sat/Lum Section – Hue: Only Red 0.16, Yellow -0.05, and Green -0.17 were adjusted; Sat: only Green -0.22 and Overall -0.45 were adjusted; and Lum: Only Orange 0.36, Yellow 0.89, Green -0.91, Aqua 0.30, and Blue -0.09 were adjusted. Kim Klassen Cafe‘s January Set 2801 texture was applied and set to Multiply at 100% opacity. Shadowhouse Creations Text Brush 1 was put on its own layer at 61% layer opacity. (These brushes are free and really cool, as is his site, too.) A couple other steps were done to get the nice texturized feel, but overall, the flowers benefited greatly by using Clarity.
Digital Lady Syd Related Blogs:
Clarity with Texture!
Topaz Simplify Artistic Workflow
How to Make Frames or Borders
InstaTone in photoFXlabs – Great Fun and Great Results!
I first reviewed this plug-in with its initial release back in my Topaz B&W Effects Plug-In – A Real Winner! blog where I cover lots of things I still like about this plug-in. Behind Topaz Detail 3 and DeNoise 3, plug-ins I consider essential for any image, Topaz (for website link see my Tidbits Blog sidebar) Black & White Effects is my next most used Topaz plug-in – even more than Adjust. And black and white treatments are not the first thing I think about when using this plug-in – I think creative expression (as you can see by this and my related blog posts). It is a very easy way to adjust the tones and color effects without having to do more manipulation later in Photoshop, which is usually required with other black and white plug-ins. When I am stuck on what to do with an image and nothing seems to look right, I can almost always find the answer in Black & White Effects – it never ceases to amaze me what it can do with an image! The actual black and white effect creates very good results also. I loved the original version so to me the newer release is just a better and updated version of the original. It now supports very clear large thumbnail views of the large number of presets (over 200) that come with the program. It has a cleaner interface that is more in line with Lightroom (which I think has the best interface of any program) and its competitors.
The image above shows an example of how I like to use this plug-in. The Traditional Collection’s Warm Tool II preset was used as a starting point. In the Basic Exposure section only the Contrast and Brightness was changed slightly. The Adaptive Exposure slider was increased to 0.16 and the Regions was changed to 15.10 – these two sliders are usually where all the Topaz magic occurs when adjusting image exposure. In Local Adjustments, several different brushes can be applied to the image at different overall strengths. A Detail brush was used to paint over the cups, a Smooth brush was applied to the reddish hanging jacket and white sack, a Burn brush was added over the white sack to tone it down a bit, and a Dodge brush was used on the top cup to make it show up a little more. Only the Color brush was not used above, which can really give an image a very special effect. The final step in the program was to set the Overall Transparency slider to 0.35. For more info on the image processing, see Image 1 at end of blog.
WHAT I LIKE!
1. Price! Price! Price! This program has all the features of the other programs and is a great value if you are not specializing in black and white photography. All the bells and whistles are there. And the guarantee that you are will receive free upgrades – this is a no-brainer in my opinion. I got the upgrade for free and this guarantee is true with all their plug-ins. I do not know of any other software developers that offer this type of program. In fact recently, Topaz released a version 2.1 to add more depth to the program.
2. The Quad Tone section is, in my humble opinion, the major reason this program is better than the others. No one offers these Quad Tone sliders for changing the color combinations (except in Photoshop itself using an 8-bit flattened Grayscale, then to Indexed mode) – this is just plain unique! It also is one of the major reasons the unusual soft effects can be created quickly.
3. There is now a full screen window that shows all the presets on large thumbnails of your image. It makes it really easy to compare the various effects from the different presets. And it will also do this on your own My Collection presets and your Favorites. Very handy! If you do not want to do this, a larger thumbnail will appear with the effect applied to your image as you slide over the list of presets.
4. One little feature it now has, and that I love, is the ability to leave each panel open so you can go back and forth without opening up each section every time you want to adjust a slider. Lightroom has always had this capability and it can be very handy to have various panels open. This can be turned on and off in Preferences if you do not like it, but I think it is great feature.
5. The Overall Transparency slider (which maxes out at only 50% of the color in the image) – use this with the Localized Adjustments Color Brush and you can get some wonderful soft color effects on your images. This combination cannot be done near as easily in other programs.
Version 2.1 Update
6. My biggest complaint was answered – Topaz put in an Apply button so you can stack your effects. This allows you to create special Quad Tone presets and Diffusion setting presets that can be applied to an image after you have created your basic black and white image. What a great feature to have – now you do not have to go out of the plug-in and re-enter – it can all be done at once!
7. Another great addition – I particularly love the Silver and Paper Tone presets shown as drops of color at the top of the right panel in their new Quick Tools section. These can create some beautiful subtle changes to your image. And once again you can set up special preset effects just for this section to use after the original effect has been created. The Color Filter presets are very nice to have handy also.
8. They added many more variations in a drop-down list for black and white borders that makes this section much more functional. It still has a size slider to adjust how large to make it on the image. I will probably use it much more now.
WHAT I DON’T LIKE!
Topaz has been really great about adding new features to this plug-in, so it does not have too many things I do not like, but there are a few.
1. I have a problem with the Adjustment Brushes totally disappearing. This happens when using a brush tool(s) on your image, and you switch to another section to and change a slider in a any of the other section, like Diffusion Effect for example, leaving your brush panel open. When your return to the Localized Adjustments section the brushes will not appear even. This was a problem in some of the Beta versions and that was fixed but reappeared again in this latest version. Why let you keep the panels open if they do not work when you return to them? I have put in a comment on this in the forum so hopefully this will get fixed soon. This should be an easy fix for Topaz. The work-around is to totally close up the brush panel by clicking the little down arrow next to the number 3 Local Adjustments section (do not worry, your original brush strokes will remain), and re-open it up again. Your brushes will now start working again.
2. Wish they would put an Tone Effect slider for the Quad Tones section so just that area could be adjusted. This is available in Adjust5 and Simpify4. It would also be nice to have a Strength Slider active for the Color Brush, as it is for all the other brushes.
3. Watch out after applying an effect that used a Localized Brush – the brushstrokes are not reset after an Apply. This can really mess your next effect you are adding. Just be sure to reset the section if you do not want the same brushstrokes applied again. (This also happens in Topaz Adjust 5 and Simplify 4, but does not happen in Topaz Detail 3 with the Effect Mask.)
4. Still having trouble getting the correct basic settings back when using the image as a Smart Object – I cannot get them to stick. The Last Used preset usually appears from when the program was last opened. I feel this is the weakest point with all the recent Topaz plug-ins. If there are settings I really need to remember, I create a preset or create in Notepad a list of my setting to copy into a Note in Photoshop (sits with the Eyedropper Tool).
5. Little personal complaints here: I miss the old preset image that was on the top left. Sometimes the large thumbnails are just too much and stick a bit more than I like and it would be nice to have that choice back. That is just my personal opinion. Please make a larger Apply button at bottom like in the other programs. Another little request of mine. Please move the size icons back to the right – I do not like going up to the top of the middle of the image to increase to 1:1.
I guess I am sounding a little critical in this blog, but this is such a good plug-in that I would really like it to be perfect. I know Adjust is Topaz’s best known plug-in, but this B&W Effects has the ability of being one of the best ever created with just a few tweaks. There are some other really nice features too. There is now a Curves Tool section and a nice selection of curves to choose from in a drop-down list which other programs do not offer – this is very handy if you are not liking the way the image looks and need to add some quick contrast. It still has the Diffusion section where the Softness, Diffusion and Diffusion transition can be adjusted gives a slight softness to the whole image – add the detail back in a specific area by using opening the Localized Adjustments and selecting the Detail Brush. This is a wonderful addition to your images and also appears to be unique to B&W Effects. Usually this is found in a color effect plug-in. Another add-on that has been included is a Zone Mode (click the Z at the top right which changes the navigation window into a histogram). By clicking on a number underneath, you can see by different colors which areas are part of that zone on your image. Since I am not into black and white and the Ansel Adams effect to that extent, it is probably not a feature I will use a lot, but many people will find this extremely useful.
If you have other Topaz plug-ins, you will find they all have very similar interfaces and the learning curve is pretty quick for this plug-in. As you can see from my selection of images and previous blogs, I really like the artistic flair this plug-in can add to an image for a needed pop. It is especially strong with the vintage feel. Since I own the other plug-ins and I have been comparing results, I cannot find any areas that Topaz has missed for those interested in doing straight black and white conversions.
……These begonias were just ending up too bright for my taste. To tone it down subtly, as a last step this image was opened up in Topaz Black & White Effects II using a preset I created in the first version that I call SJ Vintage Feel (all my old presets were moved upon updating). This preset contains these settings for Basic Exposure: Contrast 0.06, Brightness 0.06, Boost Blacks 0.26, and Boost Whites 0; and Finishing Touches: Silver and Paper Tone – Tonal Strength was set to 0.64, Balance 0, Silver Hue 12.29, Silver Tone Strength 0.85, Paper Hue 43.90, and Paper Tone Strength 0.38. The Overall Transparency slider was set to 0.55. It gave the soft feel that I needed with just a few clicks. This is something that I cannot do as easily if at all in the other black and white plug-ins. See Image 2 below for more details.
…..Another image from the Native American Festival. These beautiful leather purses being sold by a vendor looked a little overcome by color in the original RAW image. But by using the Black & White Effects plug-in, it becomes much more interesting to view. For the post processing in this image, all I did was click the reset button down at the bottom of the right-hand panels. Then I just went into each section and adjusted each slider until I liked what I saw. One section to look very closely at is the Adaptive Exposure and Regions sliders in the Adaptive Exposure section – these two sliders will give some very good results (this is true with any Topaz filter that has these sliders – always check them out). See Image 3 below for more info.
These beautiful pink dahlias were so easy to process. It was hard to decide which version to present but this was basically created by combining a very rich texture with Black & White Effects. I used a preset I had created called Hawaiian Morning uses my favorite Quad Tone section to get the results that are always spectacular. See Image 4 below for preset settings if you would like to them. The Black & White Layer was set to a Hard Light blend mode at 75% opacity so the original image is still preset.
To create my rather dark sepia toned image, Black & White Effects was applied to the image layer and also to one of the texture layers. The Platinum preset was applied with a Diffusion effect added, and then used a Detail Brush to bring back the fairies face. Another preset was applied to add a Quad Tone effect to the image for the nice sepia feel. See Image 5 information for more details, including my preset settings. A colorful texture was added in Photoshop on top of the fairy layer, and another of my old presets was applied to it to give it a similar color tone.
…..I took some artistic liberty on this image of the Towers at Westminster Abbey in London. I wanted to make the picture look different from what everyone else has. My first step once in Photoshop was to go to Topaz B&W Effects 2 and just added Traditional Collection High Pass I with the Creative Effects Diffusion – Softness slider at .16 and Diffusion slider at .14. Then three textures were added to get the final effect. See Image 6 info for more.
Bottom line – if you want a black and white plug-in, this is a fabulous way to go without spending so much and you get all the added color options. This program is one of the most powerful in the Topaz line-up in what it provides and the new upgrade just gives it a fresher look. It is still a solid contender as a black and white plug-in. It is definitely worth a second look if you want to add some creative aspects to your images. Check out my related blogs below – there are many different Quad Tones settings you may like. Definitely try out the trial and see what you think!
Sorry for the long post, but this is really that good a plug-in so I felt it needed to be reviewed thoroughly……Digital Lady Syd
Digital Lady Syd Related Blogs – check them out to see how I used this plug-in in different ways:
Digital Lady Syd’s Rule No. 7: Check Out Your Local History
Clowning Around with Topaz!
Where Am I?
Hibiscus Flowers – I Love to Photograph Them!
Black and White Effects on Outside Art
Cleaning Up a Messed Up Photo
Topaz Black and White Effects Quad Tones Are Great!
The Art Corner: Painting and Sculpture by Tassaert
Sunny Preset for Topaz Black and White Effects
Quad Tones in Topaz Black and White Effects Plug-in
Image 1: Topaz Detail 3 using the Overall Medium Detail II preset was applied – a layer mask filled with black was added and the mugs were painted back. Next Topaz Black & White Effects 2 was applied using setting discussed above. Kim Klassen’s Return texture (sign up for Kim’s newsletter and get several of her beautiful textures including the Return texture used in this image) was added with a 78% layer opacity – a white layer mask was added and the center of the image softly painted back into view. Next French Kiss Artiste Breeze texture was set to Overlay and 53% opacity. 2 Lil’ Owls Bonus Texture 4 (see my Tidbits Blog sidebar for website link) was used as a border in white that was placed around the image. A Curves Adjustment Layer was the last step to add some contrast back into the image.
Image 2: This image actually used Topaz Detail 3 twice and localizing the effect on the flowers. Also some leaves had to be added to cover some rather ugly tissue paper that was sticking up. Three textures were stacked: 2 Lil’ Owls Mosaic Set Destine texture was set to Soft Light at 100% opacity, Kim Klassen’s Cloth & Paper Texture Florence set to Soft Light blend mode at 47% layer opacity, and French Kiss Artiste Avril texture set to Overlay blend mode at 29% opacity. A Curves Adjustment Layer was applied and the Auto button clicked to get the good colors. Then the Black & White Effects plug-in was applied as stated above.
Image 3: This image was very simply processed. Just used Topaz B&W Effects 2 to begin with using settings under image, then added a slight S Curves Adjustment Layer and painted out the two purses in the middle to add focus. Next a Levels Adjustment Layer was added with the middle tab set to 0.65 and the Output Levels set to 41 to soften the image just a little.
Image 4: I bought these dahlias to plant in my yard, but before I did, I took their picture using a kid’s bent white poster board for a background. It was then easy to add a painterly texture to the image without any distractions in the background. Mellisa Gallo’s Painted Textures 2 for 5 Friday Spring Sky texture was added. The Dahlia layer was duplicated, moved on top, and set to Soft Light blend Mode at 100% opacity – this removes all the white areas so the texture shows through. A Levels Adjustment Layer was clipped (ALT+Click between layers) and the Output Levels were set to 0 and 229 to lighten the image a little. Next I used created darken and lighten layers to dodge and burn on the flowers (see my The Best Dodging and Burning Technique! blog). A composite layer was created on top (CTRL+ALT+SHIFT+E) was placed on top where Black & White Effects was applied. (Here are the settings I used: Adaptive Exposure: Adaptive Exposure 0.41, Regions 26, Protect Highlights 0, Protect Shadows 0, Detail 1.11, Detail Boost 1.09, and Process Details Independently; Quad Tone: Color 1 Region (R1/G1/B12) at 15.08, Color 2 Region (R63/G78/B85) at 143.9, Color 3 Region (R216/G211/B129) at 227.5, and Color 4 Region (R255/G254/B237) at 255.0; Vignette: Vignette Strength -.039, Vignette Size 0.83, Vignette Transition 0.58, and Vignette Curvature 0.70.; and Transparency: Overall Transparency 1.00.). Once back in Photoshop, in the Layer Style Advanced Blending section, the B Channel was unchecked which gives a bluish tint to the whole image. The layer was set to Hard Light blend mode at 75% opacity.
Image 5: Once out of Lightroom, Black & White Effects 2 was applied using the Platinum preset and changing Adaptive Exposure slider to 0.42. Next the Diffusion section was opened and the Diffusion slider was set to 0.79. In the Located Adjustments, the Details Brush at 0.50 opacity was used to paint detail back into the fairy’s face and hair. These settings were applied. Next a Quad Tone preset was applied and set to an Overall Transparency of 1.00. (Here are my SJ_Quad_DkB_Gr_Yel_Wh preset settings: Color 1 Region (R1/G1/B12) at 15.08 ; Color 2 Region (R63/G78/B85) at 143.9; Color 3 Region (R216/G211/B129) at 227.5; and Color 4 Region (R255/G254/B237) at 255.0.) Back in Photoshop Kim Klassen’s Framed texture was added on top and set to Soft Light at 100% to get the slight edge around image. Next Kim Klassen’s Abstract Texture was added and taken into Black & White Effects 2 where my SJ Partial Color Look preset (one of my favorites) was applied. (Here are the settings for this preset if you would like them: Basic Exposure: Contrast 0.10, Brightness -0.02, Boost Blacks -0.10, and Boost Whites 0.50; Adaptive Exposure: Adaptive Exposure 0.64, Regions 50, Protect Highlights 0.02, Protect Shadows 0.02, Detail 2.28, Detail Boost 1.00, and check Process Details Independently; Quad Tone: Color 1 Region (R16/G15/B11) 7.46, Color 2 Region (R79/G78/B68) 83.33, Color 3 Region (R159/G156/B143) 164.2, and Color 4 Region (R255/G254/B242) 255.0; Film Grain: Grain Kodak TMaxPro 100, Grain Contrast 1.25, and Grain Size 32.50; Vignette: Vignette Strength -.058, Vignette Size 0.92, Vignette Transition 0.28, and Vignette Curvature 0.11; and Transparency: Overall Transparency 0.67). This layer was set to Soft Light blend mode at 43% opacity.) Now just a Levels Adjustment Layer and a couple text layer using free Radium J and Batik Regular fonts.
Image 6: The three textures used in the image were: Melissa Gallo’s Painted Textures Winter Storm set to Linear Burn blend mode at 42%, Taupe Canvas set to Linear Dodge at 48% opacity, and Confetti set to Color Burn at 60%. These textures were all obtained from her specials such as Black Friday or 2 for Friday specials.
It is that time where I try to put some perspective on my images for the past year and choose the ones that appeal to me most. I had a nice year and got to see some pretty interesting places. I try to see which images I would place in my home. Here is what my “inner critic” thinks are some of my best.
10. Below is an image shot while in the Lightner Museum looking down at my favorite lunch spot in St. Augustine, Florida, the Cafe Alcazar which is located in the old hotel pool area (see Bathing in Casino on Shorpys website for how the pool looked in 1889). For more info, see my Tidbits Blog Cafe Alcazar and Vintage Topaz Adjust.
9. I love this sort of illustrative and humorous effect. This image is of a whale taken during the Shamu show at the SeaWorld Orlando Theme Park. For details on processing, see my Storytelling with Your Images blog.
8. The Big Island in Hawaii was one of my most favorite places I have ever visited. This photo art image depicts how I think of Hawaii. I discuss how I created the effect in my Using Color Efex Pro and Texture for a Warm Hawaiian Landscape Effect blog.
7. This lovely mallard duck pair’s image was taken at the SeaWorld Orlando Theme Park in Florida. This image used a texture by 2 Lil Owls and the new Topaz (for website link see sidebar at my Tidbits Blog) Detail 3 to bring out details and color, especially in the feathers and eyes.
6. This old corvette was for sale at the 39th Annual Turkey Run at the Daytona International Speedway infield. This is my favorite type of car – so I had a great time photographing all the corvettes. (More will be showing up in my future blogs as I have a lot more corvette images.) To see how I processed this image, see my Little Red Corvette Tidbits Blog.
5. Miniature Mums were used in a lot of my images this year. I like to photograph the flowers I grow. I have been trying to improve on my macro shooting this year. To see how this flower was processed, see my Tidbit Blog Just Bloomin” Beautiful!
4. The wild surf is at Laupahoehoe Harbor on the Big Island. In my Dr. Brown’s Painting Assistant Panel for CS6 and CS5! blog I used this same image with an artistic feel to it. Nik Color Efex Pro’s Detail Extractor filter helped give this image the sharpness.
3. I am always surprised how nice the flower pictures are that I get at the local grocery stores with my inexpensive Kodak point-and-shoot camera. These beautiful pink roses were shot at my neighborhood store. Post processing included adding 4 textures – two I bought from French Kiss’s website and two from a wonderful Flickr site by Lenabem-Anna which contains many beautiful vintage and painterly textures. I used her textures 130 and 72.
2. The purple lily pad image is one of my artistic experiments that I really like. They were taken at the Hilton Waikoloa Village by the Japanese Restaurant. To see how this effect was created with a slightly different result, see my Tidbits Blog Purple Lily Pads!
1. It is hard to top Hawaii for beautiful everything. I settled on this image from along the road to Waipio Valley as my favorite of the year since it totally reminds me of my trip to the Big Island – the bright sunlight, the beautiful surf and the gorgeous clouds hanging out. To see how I processed this image, see my Nik’s Viveza 2 Plug-In – A Hidden Gem! blog.
It’s been a great year and I have learned so many new things about post-processing my images in Photoshop. Hope you have enjoyed some of my blogs too. I hope next year is as fun and productive. Happy New Year Everyone!…..Digital Lady Syd
The above was my first attempt at trying out Topaz Detail 3 and I am not disappointed. (For Topaz website link see my Tidbits Blog sidebar.) To sharpen an image I usually use the High Pass filter, Unsharp Filter or convert to LAB and do localized sharpening on the L channel. Detail 3 makes sharpening so much easier and gives several ways to adjust your sharpening to get the detail effect you want. This upgrade was definitely needed – and what I like most is that you can now localize the detail. All I can say is Love It! Love It! Love It!
Since I am such a big fan of Topaz anyway, I decided to use several of their plug-ins on this image from the 39th Annual Daytona Turkey Run Car Show, the largest in the US. If you look close at this guys face, you can see a slight smile – Detail really brought that out. I first started processing this image in Lightroom (see the RAW image below) with just the Basic sliders. In Photoshop I went immediately into Topaz photoFXlab, their new plug-in interface that I love. (See my Digital Lady Syd’s Review of Topaz photoFXlab v1.1 blog.) Next the Black and White Effects plug-in (this plug-in does things like no other filter I have seen) and from the Opalotype Collection the Hand-Tinted Chiffon preset was applied. The only change was to the Vignette which I centered on the car and adjusted the vignette sliders. Back in photoFXlab, Adjustment tab settings using the Dynamics slider (my favorite), Sharpness, Highlights and Shadows were applied. On a +From Stack layer (composite), the new Detail 3 plugin setting using just the Large Detail set to 0.53 was selected. Then in the Effect Mask tab, I lightly painted out the grill so as not to overdo the sharpening effect on it. The Overall Effect slider was set to .78 and that was it. In Photoshop the last step was to add French Kiss’s free Glorious Grunge Edging Overlay with grunge removed from center. It turned out beautifully!
What I Like about Topaz Detail 3!
1. Totally love the localized detailing that can now be done – the Effect Mask can be used to either paint in or paint out areas of the image so just what you want sharpened is affected.
2. The effect is usually pretty subtle but makes an incredible difference when viewing the image! There is an Overall Opacity slider in the Effect Mask tab that can be reduced to lower the detail globally if it appears to be overdone.
3. The Cyan-Red, Magenta-Green, and Yellow-Blue Tone sliders where you can enhance a single color have always been a favorite, even in Detail 2. Also Color Temperature and Tint sliders are now available. These sliders all use the IntelliColor feature that keeps unwanted color shifts under control.
4. What I just learned is that the Detail plug-in can also be used as a final sharpening for printing your images. Topaz did a You-Tube video called Output Sharpening for Print with Topaz, presented by Hal Schmidt using this process with Detail 2. I am planning on checking this out when I get a chance.
5. Details can actually just be added to the Shadows or the Highlights of your image or both with different settings. Really handy when you have a difficult image to work on.
6. New Deblur technology from Detail 2 that brings out micro details – great for macro photos. I have not had a chance to really use it yet but it sounds like a very promising feature.
What I Do Not Like!
1. I have a bit of a problem with the Effect Mask – I have a hard time making sure I am covering everything I need covered and at the correct amount. It would be nice if they had a colored overlay, as with Lightroom’s Adjustment Brush, that would give you a feel as to where you were going out of the edges.
2. I wish the Undo/Redo buttons would work on the Effect Mask. The only way you can erase an area you accidentally painted over is to move the brush to a different amount and hope it covers. This works okay if using Brush Strengths of either 0 or 1.00, but when in between, it gets hard to fix. Sometimes it is easier to just start over by resetting the mask. The other plug-ins, like Adjust and photoFXlab, have these buttons working. (A request on Technical Problems has been posted in their Forum on this matter.)
3. This is a small nag, but when you apply an effect, you need to make sure you press Reset button in the Effect Mask to clear the mask window or it stays on even after pressing the Apply button. When you start to make other effect changes, the mask is still there. This is also true if you have painted out an area, for a certain preset and then change your mind about that preset, press Reset All in the Adjustments tab, the mask is still in the window. Sometimes this is good if you still want the mask, but sometimes it is frustrating until you realize what happened. Most of the other plug-ins will retain the mask before you apply an effect, but clear it after applying.
4. Another small nag, but often the program gets confused and opens up on my second monitor instead of over Photoshop or photoFXlab – not sure why it happens but just some of the time.
Overall the negatives are not that big a deal although I hope they do fix No.2. The revamping of this plug-in has made it so much more useful – I am looking forward to having it in my workflow!
These beautiful little miniature mums are once again my subject. This time a little processing in Lightroom, but not much. (See image below as it was brought into Photoshop.) DeNoise 3 was applied with just an overall Strength of .11 – now you do not need to adjust the Recover Detail slider if you are going to use Detail 3. Next Detail 3 was opened and applied 3 times! Yep – First in the Creative Detail Collection, the Overall Detail Strong II preset was applied and it really sharpened the flower petals and center. Next from the Stylized Detail Collection the Desaturated Blush II was applied and that beautiful texturized background appeared. Finally from the same collection the HDR Enhancement I was applied – in the Effect Mask the mask was inverted to black and with a brush set to 1.00, the center of the flower was painted back. Now to get just the right effect for the center, back in the Adjustments tab the Saturation Boost was set to .44. That is all that was done to this image to get this beautiful effect other than adding my B&W Border Frame Layer Style. I was totally surprised by how much detail was in the image that you could not see originally and by how beautiful a texture could be created by playing around with the presets and applying different ones.
This image of one of the Haunted Houses at for the Halloween Horror Night at Universal Studios Orlando was created very quickly – below is what the image looked like after just basic Camera Raw corrections were done in Lightroom. It is not bad but Topaz added those subtle changes that really improve the image. First Topaz photoLabFX was opened and the layer duplicated. Since the image had quite bit of noise in it as it was taken at night and without a tripod, I felt it needed to have Topaz DeNoise 3 applied first – just a little Strength set to .11 and Detail Recovery set to .26 (did this before I realized that it could be done in Detail 3) – the noise was cleared. (I love DeNoise!) Then I went into the new Topaz Detail 3 plug-in and applied the Architectural Detail II preset. Exit and a Stamped layer was created where Adjustment tab settings for the Temperature to -8 (for a more blue tone), Saturation to -23 (it was really bright and the light was coming from everywhere), Dynamics to 27 (my favorite slider in all of Topaz – just works!), Highlights to -89 and Shadows to -23 were applied. French Kiss Glorious Grunge Edging free overlay (see link above) was applied and that was it. I was amazed how much the Detail 3 and the Dynamics slider together made this image pop. I have to say this picture reminds me of one of my kids favorite childhood books, the Berenstain Bears and the Spooky Old Tree!
This is another example of the creative aspect of this plug-in – this image turned out very different than what I thought it would look like. This beautiful Monarch butterfly was not very happy with me taking her picture and it took off about two seconds after I captured this image. I got exactly two pictures! (See RAW image below.) After doing my Camera Raw work in Lightroom, the image was brought into Photoshop and Topaz Detail 3 opened. I applied this plug-in twice to get this effect on the butterfly and background. First application used the Stylized Detail Collection Abstraction I preset – then in the Color Section changed the Temperature and Saturation sliders. In the Effect Mask, at Strength 0.64 on a black inverted mask, the butterfly was painted in so the changes were made to just the background, but a little to the butterfly. This created the very soft background. Then Topaz Detail 3 was opened again and this time Creative Detail Collection Feature Enhancement I preset was used. This time it was applied just to the butterfly and not the background. Changes were made to the Tone sliders,including the Cyan-Red (0.82), Magenta-Green (0.68), and Yellow-Blue (-0.30) sliders – these are unique to this plug-in for Topaz and they can make an incredible difference in an image. These are not new to Detail 3 but are still one of my favorite parts of the plug-in. In Photoshop French Kiss Artiste Collection Charmante texture was added and the butterfly painted out, some text typed in and warped, and that wonderful grunge overlay applied again – I must be on a grunge kick?
I decided to try a little different effect for this image from the top of the Sky Tower of the Kraken Roller Coaster (check out the link for crazy roller coaster video) at SeaWorld Orlando. This image was pretty complicated as I used 4 different Topaz plug-ins to get the final effect. First my normal workflow in Lightroom. Next Topaz photoFXlab was opened and the Adjustment tab was used to adjust almost all the sliders including Dynamics that was set to 50. On a stacked layer Black and White Effect was opened and from the Albumen Collection, Chocolate preset was applied with Film Grain turned off and the Transparency set to .49. Topaz Detail 3 was applied – there were areas on the image that had been slightly lightened and blurred due to reflections from a window in the Sky Tower. To get rid of these reflection marks and make them blend into the rest of the image, I selected the Creative Detail Collection – Texture Enhancement II preset. This really over detailed the image as it was pretty sharp due to the wonderful Dynamics slider. In the Effect Mask, it was inverted and with a brush set to Strength .55, I painted over the light areas in the black mask. Then went into Adjustments tab and changed the Exposure to -.08 and Contrast to 0.45 to make the changes blend in. This is a terrific use for this filter and makes its value so much better than Detail 2. Topaz Detail 3 was applied again using just a change to the Cyan-Red slider – it was set to -1.00 to bring out the cyan roller coaster track. Finally Topaz Len Effects Vignette – Selective was set to draw the eye to the highest point of the coaster – very subtle. My Thin Double Edge Frame Layer Style was applied sampling frame colors from the image.
I love Topaz products and Detail 3 is no exception. I actually purchased Detail 2 as my first Topaz product – I did not use it to the extent I could have but I did use it at times for the detail and color toning I needed. Detail 3 is definitely a big step up and it does create that extra bit of sharpening and detail that is usually needed at some point in your post-processing workflow. And don’t forget that once you buy a plug-in from Topaz, the upgrades are free! I got this version for just owning Detail 2! You should definitely check it out!…..Digital Lady Syd
Now that the latest version of photoFXlab (see my Tidbits Blog sidebar for website link) has been released for several weeks, I have had a little time to come to grips with how to use the program and integrate it into my workflow. I have been surprised by how often I am using the Masking Brush to add new skies to my landscape images.
The above depicts a really cool private bar on the beach on one of the more remote roads in Marsh Harbour in the Bahamas. I had the fortune of sailing there a couple years ago and am revisiting some of the images I did not process. It is so clear for starters because I converted it to a 32-bit HDR image in Photoshop CS6’s Merge to HDR and then processed the resulting TIFF file in Lightroom. (See my blog New Lightroom and Photoshop 32-bit Processing Capability for info on how to do this). So many of my images from Marsh Harbour had no clouds in them – so I added a few in the background for effect. Now that I am getting familiar with the Edge Aware Masking Brush in photoFXlab, it is turning out to be one of my favorite selection tools.
These are the basic steps to replace a sky and it is very simple:
1. Once inside the plug-in, duplicate the bottom layer (always do this when using photoFXlab – it can save you from a lot of problems in the long run.)
2. Go to +From File button and select a cloud image you like – watch out for the way the sun is lighting up the clouds. If you took the original image in the middle of the day, use a cloud image from a similar time of day. Also be sure it is a jpeg or a psd file (it will flatten the layers when it comes in) – photoFXlab does not open up camera raw files. I took a NEF file I liked and saved it down as a jpg in Photoshop – pretty easy.
3. Use the Tools tab in photoFXlab to Scale, Move or Rotate (or flip) the cloud layer to fit the area you want to fill – line up the part of the image you like, even if the edges go outside the original image size.
4. Move this layer underneath the duplicated image layer.
5. Now the magic starts! Select the Masks tab and create a fairly small size brush setting the Strength to 0 (creates a black line on the mask so you see through to layer underneath), Hardness around .20 (shows a fairly large feather size – set to 1 it has no feather), Flow 1.00 (if you make this .5, you only get a gray or 50% black color and it is hard to keep the tone the same), and Edge Aware 1.00 (set to 0 it will detect no edges). Start painting on the mask – make sure the crosshairs or inner circle of the brush do not enter into any part of the image you want to keep. Let the feather area of the brush slip over other areas so edges between image layers will be sharp. Zoom in if you need to get the details. Paint around the horizon edges first, and then fill in the background with a larger brush size and Edge Aware set to 0. Voila – there is your new sky.
What is really neat is that even if your little edges disappear – like the coat hangars and chain in the above image, the details can sometimes be brought back by lowering the opacity of your cloud image just a little – in this case I set it to 54% since I did not want the clouds being the major center of attention. Just be careful around the horizon lines – set the Strength to 255 (white) to clean up areas that you painted over – it actually acts like an eraser.
The +From Stack button was clicked to create a Stamped or Composite layer on top. In the Adjustments tab the Saturation was set to 23, Contrast to -23, Dynamics to 51, Highlights to -21, and Shadows to -4. The image was brought back into Photoshop where a Curves Adjustment Layer was added for additional contrast and that was it.
This is so much faster than using the Photoshop selection tools or any of the masking plug-ins, but it really works best on skies. I believe other programs should be used when you have a more complicated selection. Still, this is one of the major things I need it for and it works great!
I listened to Topaz Webinar A Closer Look at Edge-Aware Brushes with Nicole Paschal, who does a great job creating interesting and useful webinars that highlight all the Topaz products and how they work together. You can type in questions in an interactive way with both the staff and Nicole as she is presenting the webinar – very informative. Several webinar tips are listed below along with a few of mine:
- If you find that you are not getting a good distinct line between the items you are trying to select, change the brush size down to a smaller size – it will give you a better result as large brushes do not recognize edges as well. The Edge-Aware technology is based upon the color under the crosshair so this gives a smaller and more accurate sample.
- Can either brush or click to fill area. Usually the first pass of brushing will leave little areas not covered completely or with a little haloing, but if you brush back over it , they disappear. Nichole finds that it is easier for her to just click several times as she moves through the area of the image instead of actually brushing.
- Make sure your inner circle is not touching any color you do not want selected.
- Set the Brush Strength to 255 to paint back in areas that you accidentally covered up when painting on the mask. If you set the Strength to 125, the area allows 50% of the layer below to show through, as done in the last image below.
- Probably best to create another +From Stack layer if you want to add some of the Brushes effects to an image. Nicole says she likes to do just one major brush effect to each layer at a time. There is then more flexibility in adjusting opacity and changing blend mode for each change done.
If you look closely, you can tell this Marsh Harbour image used the same cloud image, this time at full strength. The same workflow was used to get the clouds in the image. Normally at this point the Adjustments tab and the Dynamics slider would have been used, but it just did not give me the look I wanted. Therefore Nik Color Efex Pro 4 was selected with these filters stacked: Detail Extractor with control points removing it from the sky, Darken/Lighten Center which gives the slight vignette effect, and Pro Contrast using the Dynamic Contrast slider which I do not always like. Nik Viveza 2 was also used to add detail into the water and sharpen the stones a little. Sometimes you have use more than one plug-in to get the right effect, but the sky still looks great using the Masks tab.
This beautiful Lion’s Face is atop a tower on Flagler College (the old Ponce de Leon Hotel) in St. Augustine, Florida. They are all over the campus and city. These slightly different steps were followed: The Adjustments tab settings were: Saturation set to 2, Contrast -37 and Dynamics +96. From the +From File, Shadowhouse Creations Marshmellow Skies was opened, then scaled and rotated in the Tools tab so it was on a diagonal to fill out the sky area. A Stamp layer was created by clicking the +From Stack button, and in the Effects tab the Black and White Effect preset called Opalotype-Hand Tinted Cream preset was applied. This layer was set to Lighten Blend Mode at 100% Opacity. In the Masks tab again, the middle of image was painted out using a large brush set to a Brush Value of 145 (middle gray) so it just clears the effect from the lion’s face a little. Back in Photoshop my layer style frame was used (see DLS Free Layer Style Frames blog).
Pretty easy and fast to replace a sky in this new program from Topaz. If you have some of their products already, download the photoFXlab trial and see what you think – I personally like the feel of the new interface and am using it a lot!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Digital Lady Syd’s Review of Topaz photoFXlab v1.1
Using photoFXlabs v1.1
This week I have been pondering this question. Since this is such a large subject for me, I am making this a two part blog so I can show some other workflows to try next time. (See Can a Pseudo HDR Image be as Good as the Real Thing? (Part Two))It seems there is so much software and so many tutorials on both subjects available and it gets pretty confusing. What really works and is it possible to get that HDR look with just one photo (hence Pseudo HDR)? In my many past blogs on Pseudo HDR, I have had a pretty fair amount of success getting one image pretty close to a true HDR look. When creating a Pseudo HDR image, only one image is used. I have to admit that I am horrible about dragging my tripod with me so I hand hold when shooting – many times one or more of the images are totally blurry so I am stuck using just one.
The image above is the actual HDR image to use for a quick comparison. It was taken at Flagler College (the old Ponce de Leon Hotel) in St. Augustine, Florida. Only three shots were bracketed using exposure compensations set to 0, -1, and +1. The shot was taken knowing it would make a great HDR image – the girl never saw me taking the image as she was so engrossed in her book, but she really makes the picture pop. Katrin Eismann’s method for processing HDR images (see my blog HDR Using Photoshop Merge to HDR and Nik”s HDR EFex Pro and Silver Efex Pro? Wow!) was used although there are several other techniques out there that do a great jobs in HDR (see Related Blog Links below for more information on this). Basically I just followed her workflow.
This image used my SJ Pseudo HDR preset in Lightroom (or ACR) to begin the HDR process on the the 0 Exposure Compensation image. I followed my workflow (see my blog Pseudo HDR Using NIK Color Efex Pro 4 for steps and all download links) which entails using my SJ Pseudo1 Recipe in NIK Color Efex Pro 4. Below is the original NEF file as downloaded from the camera. The presets I created for Lightroom and ACR create a warmer tone than the original image and the processing in both Katrin’s HDR workflow and my Pseudo HDR workflow produced dramatically different colors. To get this closer to what the beautiful brickwork really looks like in the single image, I used Dr. Brown’s ACR script twice to cool down the original major orange yellow tint. Adobe Camera Raw is the only place that is easily accessible to adjust orange (especially for skin tone adjustment) so it was the logical place to work on this color issue. The first attempt I adjusted the HSL panel and changed all three settings for the Reds, Oranges, Yellows and Greens. I still did not like the result so the second time around the Temperature and Tint was adjusted and more Hue changes. I think I finally got the result I like, but it still has a little too much beige-yellow tone in it. (See my blog Edit Layers with ACR (Adobe Camera Raw) Script.) The true HDR image has more colors in the image and the detail is still a little more distinct even though the pseudo image was sharpened extensively. On the other hand, the bikes pop more in the single image and appear to be closer in color to the original image.
Above you can really see in this 2 to 1 blow up of the back wheel chain area the difference between the detail and color toning. (Single image on left and HDR on right.) I definitely like the sharper detail on the true HDR but the color and saturation of the colors in the single image is quite appealing, especially when viewed overall.
When I look at the original, I have to admit I even like the softer tones. Makes you ponder whether an HDR was really necessary in this case – which is a whole other area to cover. Next week I am going to apply some Topaz Adjust and OnOne Perfect Effects filters (for website links, see my Tidbits Blog sidebar) to this image and see if the results are as good. Both plug-ins give some great HDR results with the right image. I also have another totally different type of workflow using just one image that can give some fabulous results when used correctly. Until then, try processing a single image and compare it to your HDR results and see what you get. I am not sure which one of mine I like best…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Different Images – Same Look Using HDR!
Pseudo HDR Using NIK Color Efex Pro 4
With One Good Photo – Try the Pseudo HDR Effect
Why I Love Topaz Adjust!
Nik HDR Efex Pro Example
Another Pseudo HDR from Me!
Problems for Big Ben
Pseudo HDR in OnOne Perfect Effects
I find that many times my images just look like everyone elses and I really want an image to reflect something slightly different without being over processed or unrecognizable. I struggle with this concept a lot. So this week I have been thinking about what I really like and it is not always what I am seeing. The image above reflects that very sentiment. The image is of the water from one of the boat docks at the Hilton Waikoloa Village but the sky is not the actual color and the highlights were accentuated by using plug-ins. (In Photoshop Topaz Adjust plug-in was used with the Lomo II preset as a starting point, then turned off the Grain setting, readjusted the Vignette by centering off center and adjusting the sliders, and added a little more Warmth. Next Topaz Simplify 3 was added using BuzSim but changed the Simplify Size to 0.05 to make paint strokes very thin, Details Boost to 0.79, Details to 0.13, and then adjusted Saturation to 1.38. See sidebar in my Tidbits blog for Topaz website link.)
The view of the Waikoloa Beach Marriott Beach Resort and Spa is a similar example. This image definitely has a real blue tone to it even though the original is not nearly as striking. The final result is how I would like to remember this place. (This image was processed using OnOne Software’s Perfect Effects 3 plug-in – Detail-Amazing Detail filter applied first; next a custom Black and White Effect was created with Color Filter set to 0, Contrast -52, and Toner Strength 22 – then a Masking Bug was applied and inverted so the middle of the image was not affected by the blue tone; and the last step added a Vignette – Big Softy to the image. For OnOne’s website link, see my Tidbits Blog.)
This is a beautiful Roseate Spoonbill taken at the St. Augustine Alligator Farm Zoological Park in Florida. The bird was not shot with a reflection – that was added with Flaming Pear’s Flood plug-in. I really like the image with the reflection much better than the original – it gives that unique feel that I was looking for. (The canvas was extended at the bottom of the image to make room for the reflection. Even though Flood is an older plug-in, it is still the best one for a good reflection with many different sliders to control the effect you want. See my blog “The Flood Look” for more information on this plug-in. The frame is from OnOne PhotoFrame called Instant Film B Warm R2.)
A few week ago I did a blog called “Using Color Efex Pro and Texture for a Warm Hawaiian Landscape Effect” that also creates a very unique look to the images and they make me think of Hawaii when I see them. I believe this is what I am trying to convey in this blog.
I do love the classic images I take from my trips, but the ones I really like are the ones I make my own. The various plug-ins can make those ordinary images unique and if that is a look you want, give them a try. There are so many out there and it has surprised me how varied and unique a look you can get with a little experimenting. And that is why Photoshop rocks!…..Digital Lady Syd