Basically this blog is showing that filters or plug-ins do not have to be applied on a layer with the second one applied on top of the first one on the same layer, but rather they can be applied to the same original duplicated layer and by using layer masks the desired effects from can be inserted. This image above followed a workflow that followed my Nik HDR Efex Pro 2 and Topaz Clarity Together? Tidbits Blog from a few years ago. It had been a while since HDR Efex Pro2 (part of the free download from Google-Nik) was used so it seemed like a good time to try it out again. The original image from the Tidbits Blog is shown below. This image was taken yesterday at the 28th Native American Festival in Ormond Beach, Florida. The displays and costumes really give a nice variety for those who love photography (and the vendors and show organizers are some of the nicest people!). The focus area of the two teapots show more of the HDR plug-in effect and the rest of the image has more of the Topaz Clarity filter effect. Any plug-ins can be used this way, these are just what I was using for this image.
HDR Efex Pro 2
The image was first opened in Lightroom where it was brightened up just a bit. Then in Photoshop, the background was duplicated, converted to a Smart Object (right click on layer and select Convert to Smart Object), and HDR Efex Pro2 was opened from the Filters menu. Note: you do not have to be shooting HDR photos to use this plug-in – it works fine with just one image. (For info on how to use if shooting with more than one image, see my How To use Google (Nik) HDR Efex Pro 2 Blog.) This is another one of those huge plug-ins with lots of sliders and presets to play around with on your images so the Smart Object allows you to go back and adjust it if it look wrong (double click on the thumbnail in the Layer Panel). In this case the Outdoor 2 preset was applied. One of the best things in this plug-in is the Levels & Curves section where besides RGB and the individual channels, there is a the Luminosity Curve that can be adjusted – this was done for this image. The curve was pulled downward to get a nice overall effect. Then the Tonality section Structure slider was set to 31% and the Color Temperature was set to -20% and Saturation 19%. That was all that was done to this preset.
Now for the Topaz (for website link see sidebar at my Tidbits Blog) Clarity part. This is one of my favorite Topaz plug-ins partly because of the versatility in it. The HDR Efex layer was turned off and the background duplicated again and set just above the background layer. Since the HDR Efex layer had way too much contrast for the softer vintage effect I wanted, a preset that I created for painting was applied in Clarity. It totally softens the whole image but the colors looked really good. (Here are the settings if you are interested: Clarity Dynamics Micro Contrast -0.86, Low Contrast -0.86, Medium Contrast 0.63, and High Contrast 0.94; Tone Level Black Level -0.19, Midtones -0.36, and White Level 0.19; HSL Filter Hue – no changes; Sat Orange 0.06, Yellow 0.63, Green 0.13, Blue 0.25 0.25, and Overall -0.45; and Lum Orange 0.36, Yellow -0.34, Green -0.42, Blue 0.61, Purple 0.11, Magenta 0.75, and Overall -0.27 – all other colors were 0.00. Adjust these settings around if they do not quite fit the effect you want.)
The HDR Efex layer was turned on and a black layer mask was added (press ALT key while clicking the layer mask icon at bottom of Layers Panel). Just the areas where more contrast was needed was painted back into the image – mainly around the teapots where the focal point is. A round brush set to 50% opacity was used so edges were not too sharp.
Photoshop Brushes for Clean up
Some of the background in the curtains did not look so nice, so the brushes were brought out to paint in some colors and blend some colors on a New Layer. It is so handy to have a good Regular Brush and Mixer for clean up. A pastel with rough edges was used to paint over some greenish shadow colors that did not fit the image. The brush can be downloaded from SDW Haven Pastel Brushes Part 1 – it is the last brush or 11th brush in this free set. (These are the settings used for the brush: Brush Tip Shape: I like it as a small size so it is set to 8 pixels but enlarge it often, Angle 137 degrees, Roundness 100% and Spacing 35%; Shape Dynamics: Angle Jitter 42%; Texture – Rough located in PS Erodible Textures (load by clicking texture patter, then on the cog wheel and Load Erodible Textures, and set to Scale 87%, Brightness -45, Contrast 0, check Texture Each Tip, Mode Multiply, Depth 50%, Depth Jitter 1%, and Control Off; and check Smoothing.) This brush also clean up funny colored edges nicely – just ALT+click in the image on the color to sample, and lightly paint in. I usually paint at 67% opacity with this brush.
Then an overall soft Mixer blender was used to mix up the edges. The brush I use is by David Belliveau from Paintable – here is a link to his free brushes and his How to Blend Colors in Photoshop: 4 Essential Technique blog. David does a great job explaining how to use brushes in Photoshop. On the clean up layers, I just kept going back and forth between the Regular and the Mixer brush adding color and blending until the color and edges look smooth. The Mixer also does a great job of softening lines that appear too sharp in the background. I use these two brushes all the time to both clean up images and paint in Photoshop.
Finishing Up the Image
Last steps involved adding on a stamped layer (CTRL+ALT+SHIFT+E) Topaz Texture Effects 2 with adjustments to the Crisp Morning Run preset. A Spot Mask was used over the center pots so they were not affected as much by the plug-in. Duplicated the layer and applied Nik Viveza 2 to further sharpen the two middle teapots and add a little more saturation to that area. Duplicated the layer again and Topaz Lens Effects was opened and a Silver Reflector filter coming from the left was applied – just to add a softer effect and emphasize where the light was. Using these three plug-ins one after the other is an example of applying them onto each other and no masking was involved. Therefore the effects of Texture Effects is in the image where Nik Viveza 2 was applied which is in the results of applying the Lens Effects filter. If you wanted to get down to the original Background effect, many masks were have to be created. Subtle but significant difference.
Overall HDR Efex Pro and Clarity are not a bad combination for getting some nice effects in Photoshop. Both images used the filters discussed above. Each filter was added on its own duplicated Background layer and then the parts of the image to be concealed were masked in or out on each layer. For the top image it just did not look as good when one filter was applied over the other one. This is really important to remember if you are liking the effect in two different filters – they do not have to both be applied over each other – just mask in or out what you like on separate layers. And do try out the brushes – they work really well together. Hope everyone is coping with the winter and staying warm. Until next time…..Digital Lady Syd
Just getting back into the swing of Photoshop. Decided to try and get a fine art feel from my images taken at the Philip Hulitar Sculpture Garden – a monotone feel was needed since the greenery around the sculpture was overwhelming the beauty of the actual sculptures.
For the above image, first on a duplicate layer the Refine and Place panel was used to select the sculpture and remove it from the background. It was added as a layer mask to the layer. Then two texture were stacked underneath the texture.
Texture: The first one was one of my textures and was actually made in Photoshop using Just Jaimee 2012 Summer Brush Sampler Freebie – painted with her Texture Brush using a light gold color, on New Layer another Texture Brush layer used a light grayish blue around the sides a little, and on a third layer the Misty Brush created an upper right lighter goldish area. Then on another New Layer, blended around the edges with a mixer. Once saved as a JPG, it was brought into the image set to Normal blend mode at 100% layer opacity. Very simple to create. The second texture was by Kim Klassen called Pinit 11, which was a white and slightly gray cement texture – very easy to do photograph a similar texture yourself. It was set to Pin Light blend mode at 55% layer opacity.
Google (Nik) Silver Efex Pro 2: On a stamped layer (CTRL+ALT+SHIFT+E) on top, applied the now free Silver Efex Pro 2 to the image using the High Structure (harsh) preset which really emphasized the texture in the background. Global Adjustment Structure section was changed to 33% and the Midtones to 27%. The only other change from the original preset was to change to Toning to No. 13, which give the beautiful color in the image.
Did a little Dodging and Burning using Curves Adjustment Layers to emphasize the sculpture properly. (See my How To Use Curves Adjustment Layers to Dodge and Burn and Image blog.) Last step involved creating a Red Channel Luminosity Curves Adjustment Layer to just blend the whole image together by pulling slightly down. (See my How To Use a Red Channel to Create a Nice Blended Image Effect blog.) Used Photoshop’s Lighting Effect Filter with a Spot light to slightly lighten up behind the sculpture – set to 63% layer opacity. The font is called Gadugi from Microsoft. That is all that was done other than cleaning a few areas that did not blend correctly including the sculpture stand. I really enjoyed working on this image!
The palm trees above reminded me of nature’s sculptures versus the beautiful Gardens sculptures. I wanted a dreamy effect and it turned out to look a little like an infrared shot. The sculpture is called Forgotten World III by Norman Sunshine. Lucis Pro 6.0.9 (no long available) was used to sharpen up the image first. Silver Efex Pro2 was used again but this time the Fine Art High Key preset was applied without the frame and some contrast adjustments to start getting that dreamy feel – played with the Soft Contrast to get that feel. On a stamped layer Topaz (for website, see my Tidbits Blog sidebar) Lens Effects and applied the Moderate Diffusion filter as is. Topaz Impression 2’s Cave Dweller I was applied as is on another stamped layer. Used On1 Effects 10’s (for website, see my Tidbits Blog sidebar) Strong Vignette as is and set it to 62% layer opacity in PS. Did a little dodging and burning around the palm trees to differentiate them from the background. (See my The Best Dodging and Burning Technique! blog.) Some clean up was done and that was it!
If you have an image that is just overwhelming your subject, try going to a monochromatic effect to help isolate your subject better. It works really well with the green and yellow images. Hope you have a wonderful week!…..Digital Lady Syd
I have always enjoyed a nice soft glow effect in my images. This week I have been experimenting with the On1 (for website link see my Tidbits Blog sidebar) Photo 10 (which is now version 10.5) and am finding this is a much improved plug-in from a few years ago. The image above of a beautiful Palm Beach home is an example of one of their filters I like most – On1 Effects Glow Filter. This effect is very similar to the Diffusion effects in Topaz (for website link see my Tidbits Blog sidebar) Glow 2 (which has many presets but not all create the above effect – still a fabulous plug-in); and Lens Effects, Topaz Black and White Effects and Topaz Adjust and even Texture Effects plug-ins (where the Softness, Diffusion and Diffusion or Edge Transition sliders can be adjusted), or in the now free Nik Color Efex Pro 4’s Glamour Glow Filter with a Glow slider, Midnight Filter’s Blur slider effect, or Monday Morning’s Smear slider result. So everyone should be able to create a similar effect. All give very interesting soft effects to your images and can be localized with masks or control points.
On1 Effects offers the a lot of flexibility for this effect by providing 24 presets to select or using the individual sliders that can be adjusted manually. This also includes the ability to protect the Shadows or Highlights from this effect. For this image, Lightroom Basic Panel tweaks were done. Then On1 Photo was opened as a stand-alone and the Perfect Layers module was selected to swap out the original colorless sky with a new one. (Go to File -> Add Layers to Files and found a sky to use.) The sky layer was placed under Palm Beach layer. Then the Masking Brush’s Perfect Brush was used to paint out old sky so the new one underneath shows through – used CTRL + drag in trees to get rid of some of the areas. Would normally use the PS Refine Brush to remove edging. Next the sky layers was opened in the On1 Enhance module and lightened up a lot to match the top image tones. Then back into the Layers module and the Move Tool was used to adjust sky around trees. Highlighted the Palm Beach layer and went back into On1 Enhance to make a few exposure changes on the Palm Beach image layer. Last step was to use On1 Photo 10 Effects and apply the Glow Dynamic Contrast Filter – Amount 58, Halo 22, Warm 20 and Sat -24; Detail Small -34, Medium -25, Large 58. Saved image as a PSD file. This may sound like it was hard to do since three different modules were opened, but On1 had made this switch very quick and easy now. I still wish all the different panels were in just one interface as in Photoshop or Lightroom’s Develop Panel, and I wish the Layers module was available as a plug-in in PS or LR. Effects, Enhance and Portrait are available for PS and LR (if saved as a Smart Object, when image opened in PS, layers and masks will be available to edit). Still, this plug-in has come a long way and is much improved. For more information on how the sky was replaced, check out On1 Short Clip – Replacing a Dull Sky by Bob Campbell. For info on how to adjust the Glow Filter, check On1 Short Clip – The Preset Workflow Trick by Blake Rudis.
Since many of you may not have the filters listed above, this image of the sign painter at the Jacksonville Zoo (this has got to be a dream job – love the paint on his pants!) used the free Nik Color Efex Pro 4 filters listed above to get a very similar feel. After doing some basic panel adjustments in Lightroom and sharpening up the image a little, it was brought into Photoshop. On a duplicate layer that was converted to a Smart Object (so I could go back and adjust the settings if needed – right click on layer and select Convert to Smart Object), Nik Color Efex Pro 4 was opened. These filters were selected and stacked: Glamour Glow (Glamour Glow 76%, Saturation -39%, Glow Warmth 20%, and Highlights 44% to protect them from being too soft); Midnight Color Set Neutral, Blur 37%, Contrast 50%, Brightness 67%, Color 81% and Highlights 100%. A Control Point was placed on the painter and cat’s faces to remove the softening from this area – then the filter opacity was set to 67%); and Vignette Filter (place center on the painter and cat and set Adapt Edges 0%, Transition 59%, Size 19%, and Opacity 75% – a Control Point was placed on the white Jaguars sign and set to 54% opacity). Using Control Points in this plug-in can really help shape the effect you want. Last step was a Curves Adjustment Layer to add a little contrast. Very easy and it created a beautiful soft glow effect.
Hope you have a chance to try out a Glow Effect. Hope everyone has a nice beginning to the Fall Season!…..Digital Lady Syd
This week I just felt like pulling together a little image so here is a little montage that uses several different media. I wanted a natural feeling to the image so I tried to use natural looking colors, textures and brushes to get the total effect. (For explanation of the difference between montage, composite, and collage, see my How to Create a Quick Montage blog.) Think I have a few new tips for this tutorial.
To do this type of image you need to create a selection. Selections were needed to create both the brushes used in this image and for adding the elephant and palm trees removed from other images.
Creating Brushes using Vectors or Objects
First a plant layer was created just because they looked pretty. These brushes were created from various vector flowers and plants collected from free sources on the internet. Try checking out Creative Markets and Design Cuts for some wonderful weekly free vectors. They also both have inexpensive sets that can be bought. Many scrapbook websites also have some great vector art that can be converted into brushes but be sure to check out the usage license. If you want a nice set to try the technique below on, download Frostbo’s 16 Aquatic Plants PNG Brush Set at DeviantArt to turn into nice brushes.
So how do you do this?
- First the object needs to be placed on its own layer. If the object is one layer with a solid color background, it can be selected by going to Select -> Color Range. Then select the background color and click the Invert box to select the object. Then press CTRL+J to put object on its own layer.
- All brushes are created using shades of black and white. Therefore set foreground/background to default colors – Black/White by pressing the D key.
- CTRL+Click on the thumbnails of the object layer to select it, then ALT+Backspace to fill the selection with a solid black color. Or to add a little variety to the image, on a New Layer paint over the selected areas with shades of gray to add some interest in the object. Or after selecting and placing on its own layer (CTRL+J), the Object can be converted to a black and white object by going to Image -> Adjustments -> Black & White Adjustment Layer – adjust sliders to get some interesting texture effects for the brush and say OK. Need to create a stamped layer (CTRL+ALT+SHIFT+E) on top to create brush if using the B&W Adjustment Layer technique.
- Now select the Rectangular Marquee Tool and place around the Object.
- The last step is to go to Edit -> Define Brush Preset. It will now appear at the bottom of the Brush Preset Panel.
Use this brush on a New Layers so the strokes can be adjusted, transformed, change blend modes, or whatever you want to do with the layer. I used Frostbo Aqua 12 to create a brush by selecting as above using a Black & White Adjustment Layer to leave in detail, and then changed the settings in the Brush Panel to the following: Brush Tip Shape – Size 400 px and Spacing 108%; Shape Dynamics – Size Jitter 9% and Angle Jitter 3% with Flip X Jitter and Brush Projection checked; Brush Texture using a Cold Press Pattern chosen in the drop-down panel with the little arrow (this is a small black and white patterned texture – try different ones to get a look you like), Scale 150%, Brightness 28, Contrast -10, check Texture Each Tip, Mode Multiply, and Depth 100% (if no effect is seen from the texture, try changing the Mode like to Height, and the sliders – watch the Preview Panel for changes); Color Dynamics – Check apply per Tip, Foreground/Background Jitter 100%, Saturation Jitter 20%, and Purity -37; and Smoothing on. Use a couple of nice plant colors and give it a try. It gives a nice light and breezy floral effect. This brush was used to fill the middle area of the plants in the image above. Below is an example of what the brush looks like with a dark red and greenish tone and with black and white. If the stroke appears too light, change the blend mode of the brush to Multiply or Linear Burn in the Options Bar to darken it. These brushes may take a while to create one you like, but once you find one, it is so nice to have these to give your own unique feel to an image!
Using Quick Mask to Create Image Object Selections
Several different ways of selecting can be used , but I really like using the Quick Mask mode (the little icon located right under the foreground/background color icon on the Tool Bar or just press the Q key) when the object is not that large and not too complicated. When painting with a Regular brush, a selection will be created showing the red overlay which represents the selection. Just press Q again or the icon to exit and the selection will be seen as dotted ants. If your selection comes out wrong, double click on the icon and make sure it is set to Color Indicates Selected Areas. Of course there are many different ways to do selections, but this is my favorite for adding small objects. The elephant image was selected this way from an image taken at the Jacksonville Zoo and actually looks much happier placed in my image. Also the Palm Trees are a favorite object taken from one of my older Florida images.
Using Pattern Fill Adjustment Layers to Add Texture to Objects
The interesting birds are a free PNG file from Jai Johnson’s The Daily Textures (scroll to the bottom of blog to find download). A Pattern Fill Adjustment Layer was clipped (ALT+Click between layers to clip adjustment layer so it only affects the birds in image) to get the soft effect. To find the Pattern Adjustment Layer, go to the bottom of the Layers Panel and click on the half black and half white circle – then choose Pattern Fill. In this case a turquoise/blue watercolor pattern was chosen as a pattern and set to a Scale of 120%. The pattern can be moved by dragging in the image so the pattern is lined up just right. If you do not have a pattern you like, open up a JPG texture file in PS, then select the whole texture (CTRL+A) and go to Edit -> Define Pattern. Now the texture appears at bottom of the pattern list to add as an effect with the Pattern Fill Adjustment Layer (or it can also be used for the Brush Texture in the Brush Panel or the Pattern Overlay Layer Style effect). Using Pattern Fill Adjustment Layers creates some very nice effects when clipped to a black and white brush layer or vector layer. In this case, the bird file was a solid black PNG layer so adding the variegated watercolor effect created some very nice subtle detail in the flying birds.
Creating a Reflection
A reflection of the elephant and palm trees was created by duplicating their object layers, then choosing Free Transform (CTRL+T). By holding down the SHIFT key and dragging from the top straight down, the image can be pulled upside down to any length needed. If the water is shallow, the reflection will have more color in it. Above the water is shallow so the layer opacity was set to 49% to keep it soft but with some color from the original object. A round brush with grain it was used to paint in some water in a bluish color.
One of my orange and yellow colored Corel Painter textures was added underneath in Overlay blend mode to warm up the image a little. The texture border is from Kim Klassen‘s Nested Frame set to 80% layer opacity. This was after the texture was taken into Select -> Color Range and the center color removed – this created a border effect instead of placing the whole texture on the image. I am not sure this texture is still available – it is a shame since she creates very subtle soft textures that give images a slightly different feel. The now free Nik Viveza 2 was used to set the elephant as the focal point. Some clouds were added on a New Layer using Grut’s FX Cloud Brushes (these are fabulous!) – using a soft a beige color and not blue or white to match the image. The last step was to open Topaz (see sidebar at my Tidbits Blog for website link) Lens Effects’ Grain filter (set to Amount of 0.48 and Size 0.47). Adding just a little grain to everything can really soften the object edges and blend the objects to make the image look like it was all in the original setting.
It really is a bit of a process to pull all this together, but it is fun to do. It took me several hours to actually create the above image. I made several wrong-turns before I got the effect I liked. The experimentation can give some really surprising results. Check out some of my older blogs below if you want some more ideas. Hope this helped you out a little – have a good week!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
Springtime Wishes from Betsy
How to Easily Create a Photoshop Brush for Painting
How to Create an Image From Nothing!
Just adding a short post as I am still taking a blog break. This pix is of a Greylag Goose that resides at the West Palm Beach Zoo in Florida. Wanted to showcase the wonderful Inky Leaks Spatter FX Brushes recently purchased from one of my favorite brush people, Nicolai at the Grut Brushes Website. First created a texture to be placed behind the bird after he was selected and the original background removed. Topaz ReMask 3 (see my Tidbits Blog sidebar for website link) was used, but the new PS Select and Mask Command would also do this very well. This background was created using several of Inky Leaks brushes and was a lot of fun to create. He has 100 brushes in the collection so there are lots of ways to use them. My favorites are the small spatter regular brushes which are shown in the texture above. A Hue/Saturation Adjustment Layer was added above to change the color palette to more green and blues.
The Bird: The Crispy Swill mixer brush in the set was used to smooth out the paint strokes on the bird. The Grut website has lots of other nice brushes and in fact each Monday he posts a free brush to try which has given me a chance to try out different types of brushes and media. Another Grut Mixer Brush called Hay Camel was also used on this image, but I changed the Options Bar settings to Wet 100%, Load is 50%, Mix 100%, and Flow 83% for softening the edges of a subject. Just because certain settings are shown with a brush, take the time to try different Options Bar settings and textures. Very different brushes can be created that you may like better! Fay’s (Sirkis) Precious Oil Diamond Mixer Blender was first used to soften the feathers. This is a brush I use all the time on birds and the only place I can find her brushes is at KelbyOne Training – search for Fay as an instructor and several classes with downloadable material that includes her brushes are available. Her mixers are the best I have found for PS. If you can find a few brushes that you like, it is definitely worth the time to create a Tool Preset file with just these brushes. (See my Why Use the Tool Preset Panel? Photoshop Painters Listen Up! blog.)
After painting the bird, Topaz Lens Effects was opened and a Silver Reflector filter and a Toy Filter filter with the Camera Shake turned off was applied to further blend the bird into the background. For some reason I find this plug-in does a good job with blending objects together. The now free Nik Viveza 2 was opened to create a soft vignette feel. I just did not like the way it was looking so the texture was duplicated and placed on top using the original texture colors. A black layer mask was created by ALT+clicking on the mask icon at the bottom of the Layer Mask and parts of the image was painted back to introduce a little more color into the image. 2 Lil Owls (see my Tidbits Blog sidebar for website link) Color Bokeh Grunge Set #2 overlay was added and set to Linear Burn blend mode at 67% layer opacity. This added a little more color and darkening in the corners. On a New Layer a Bevel and Emboss Layer Style was added for some painterly effects. The goose now has a lot more dimension and blends into the background much nicer.
If you love Photoshop brushes, Grut’s brushes are definitely ones to check out! Lots of choices here! And my other advice is to do not give up on an image if it is not turning out exactly like you wanted. Walk away for a while and come back to it – lots of times an answer does show up to improve the results. Well have a great weekend and go try out some new brushes!…..Digital Lady Syd
This week I decided to try a little in-camera photo effect and then post-process in Photoshop. In my mind, this is the best of both worlds when trying to put an artistic feel into an image. The above was first shot with my Nikon D-300 camera (I dearly love this camera and can’t seem to part with it!) and shot the image in multiple-exposure mode using just 2 shots. I am not really sure how this type of exposure is supposed to look, but this method seems to fit floral or plant images quite well. This image was taken in my front yard of a Queen Emma Lily in front of a Cardboard Palm. I see this as a very creative blend of the two exposures but it did take some finishing work in Photoshop to get the final interesting feel.
So first the basic workflow for taking a multiple- or double-exposure shot will be covered. It is not that difficult but do consult your camera manual to get the exact menu settings to do this. I will be using the Nikon D-300 menus, which due to its older age, should be similar to what is available on most newer cameras.
1 First set your camera to Manual Focus. To do this on my camera, looking at the front of the camera the Focus Mode Selector dial is located to the lower right of the lens. The dial should be set to M for manual (as opposed to C for continuous auto focus or S for single auto focus). Note: For my camera, if either the Camera body or the Lens is set to Manual focus, then it must be focused manually. Many of the lenses will have a Manual focus setting also (usually the lens is set to M/A – switch to M to make it focus manually). I am using the Camera Body setting for this.
2. On the back of the camera, press the Menu button and select the Shooting Menu. Then Scroll down to the Multiple Exposure choice.
- Select the number of exposures to shoot – the above was just a double exposure so it was set to 2. Up to 10 are allowed.
- Select whether to turn on Auto Gain. The difference is that when it is on, the exposure time is divided by the number of exposures chosen for the image, and when off, each exposure is exposed for the full amount of time (meaning shutter speed). I had it turned off, but try both to see which looks best.
3. In my camera I need to turn on the Multiple Exposure setting each time an image is to be taken.
It sounds a lot harder than it is. Just have to get familiar with where the settings are. Now you can try different camera settings to get different results. For the above, both of the in-camera exposures were shot using the basic Nikon 18-200 mm zoom lens set to 105 mm at F/5.6. Below is what the original out of camera image looks like. First the palm exposure was taken, then moved the camera and took the lily.
Post-processing: In Lightroom a Trey Radcliff free preset called Sunday Alone Time was applied and then the Vibrance was lowered (-65) so it was not so colorful. In Photoshop the layer was duplicated and Topaz (see sidebar at my Tidbits Blog for website link) Glow was opened and my SJ Inter Web Variation was applied. (Settings are: Primary Glow Type Dark, Glow Strength 1.00, Effect Sharpness 0.12, Electrify 1.00, Simplify Details 0.06, Edge Color 0, Detail Strength 1.00, Detail Size 0.42, Brightness 0.16, Contrast 0.18, Saturation 0.08, Line Rotation 0, and Glow Spread 0; Secondary Glow Glow Type Light, Glow Strength 0, Effect Sharpness 0.54, Electrify 0.11, Simplify Details 0, Brightness 0, and Contrast 0; Color Overall Saturation to 0.62, Red Sat to 0.44, Yellow Sat to 1.00 Yellow Lightness -0.36, Green Sat 1.00 and Lightness -0.51, Aqua Lightness -0.36, Purple Sat 1.00, and Magenta Sat 1.00 and Lightness 0.50. Set to Screen blend mode at 66% Strength; and no Finishing Touches.) The Layer was set to Overlay Blend Mode at 96% layer opacity. A black layer mask (CTRL+click on layer mask icon at bottom of Layers Panel) was added and just the areas I wanted lines to show through were painted back. The Layer Style was opened (double-click on the layer) and on the Underlying Layer slide, the white tab was split (ALT+click) and set to 178/255 before exiting the menu. A stamped layer (CTRL+ALT+SHIFT+E) was created above and the now free Nik Color Efex Pro 4 was opened. Three filters were used: Midnight with no Blur added, and overall opacity of 73%; Reflector Efex set to Gold with the light coming from bottom up; and Vignette Filter using a darkish brown color and centering on the focal point. Next the also free Nik Viveza 2 (downloads with the above plug-in) was opened and just one control point was placed in the center area to add a little more structure and whitening to the focal point. Last step involved using a New Layer to clean up lines – Grut’s – MI Swish Mini Mixer brush was used to break up the edges of some lines that were too sharp – I love this brush! Check out his other brushes too – so many wonderful ones! This image turned out to be a lot of fun and created a very different type image!
Another double-exposure image – used the same Nikon 18-200 mm zoom lens sets 150 mm and F/5.6. This was shot with white blinds behind the flowers in a vase and sunlight strong outside. This time for the first exposure just the focus was set to a very soft blur, then the second focused in on the flower to get this soft effect. The double-exposure created an almost translucent feel in the flower petals by shooting into the lighter background. In Lightroom just a few adjustments were made before going into Photoshop. On a duplicate layer, Topaz Lens Effects Diffusion filter was added. Then Nik Color Efex Pro 4 was opened and the Glamour Glow filter and Film Efex Vintage filter (Film Type 13) were stacked. A pink pastel texture of mine was added on top and set to Darker Color blend mode with a layer opacity of 55% – a layer mask was added and the texture was gently painted off the flowers.
These dandelions were shot using the same lens at 170 mm and F/5.6. Once again, the background was really defocused for the first exposure and then brought the foreground dandelions into focus for the second. My first thought was to convert this to a black and white so it was brought into Photoshop and the free Nik Silver Efex Pro 2 (downloads with the other Nik plug-ins) was opened. The Fine Art (high key, framed) preset was selected and the frame removed. Then a Finishing Adjustment using Toning 22 was used to give a warm tone to the overall image. There are lots of really great sliders in this plug-in so give them a try! It was set to 75% layer opacity and actually gives a really nice look at this point. But to get an artistic feel in the image, first 2 Lil’ Owl’s (see sidebar at my Tidbits Blog for website link) Stained Plaster Collection 17 texture was added to the image and on a layer mask, the foreground dandelions were painted back without the texture. On a stamped layer, Topaz ReStyle was opened and the Brandeis Blue preset was applied. Next another 2 Lil’ Owls texture called After the Rain 14 was added and set to Multiply blend mode at 85% opacity. Another one of her textures was added called Grunge 27 and it was set to Color Dodge blend mode. This added some texture in the bottom foreground – a black layer mask was used to remove all of the texture except this area. That is what was done to get the final image.
I hope this was not over everyone’s head – it really is just a way to change up an image and possibly get a different result. Many people go to much more extremes on shooting the double-exposure adding very different items, more like the first image. And many people are into creating silhouettes for the first exposure and then shooting small flowers for the second exposure for some incredible results. Since I am rather new at this, I stayed pretty basic with this. It does sound like it would be fun so I may have to try that for second go-round on this topic. Therefore if you just want to try something new, give this a try. It is a lot of fun and the final effects can be quite dramatic!…..Digital Lady Syd
This image was taken at the Harry P. Leu Gardens in Orlando, Florida. This little guy thought he had a pretty good hiding place, but I found him! I wanted to give him a very surreal surrounding and I think it happened using this week’s technique! Learned this from one of my favorite resource places, Creative Live, where a lovely lady named Kathleen Clemons presented a wonderful program called Creating Painterly Photographs. She was teaching how to both shoot and use Photoshop to give some very creative effects using mostly flower and leaf images. This got me thinking about how I could use some my favorite techniques and PS plug-ins to do get some interesting results also.
One of her PS suggestions was to try using the Motion Blur filter to get a different effect. That is exactly what was done in the image above. Very simple process to actually apply the filter. Below is the original image so you can see how the motion blur turns a rather busy image into a really nice painterly result.
- Duplicate your image.
- On this layer go to Filter -> Blur -> Motion Blur. Now adjust to your liking. If you want a horizontal look as shown above, set the Angle to 0; if a vertical blur is needed, set Angle to 90 degrees.
- Add a layer mask to the blur layer and paint out where the effect should be removed. Use a low opacity brush if just a little bit of effect needs to be removed.
This is such a simple technique I am not sure why I had not thought of it myself! Now any of your other filters and textures can be applied with a very different look being created by the motion blur. Thank you Kathleen for bringing this to my attention! (Click on the original image below to see a larger view in Flickr of the Layer Panel – it can be clicked on to enlarge also.) At end of blog under Image 1 is a detailed paragraph on all the different layer steps shown here.
This image was taken at the Viera Wetlands also called Ritch Grissom Memorial Wetlands in Brevard County, Florida. A very similar image is posted here from a Tidbits Blog for the original version. Used the workflow above but this time Topaz Lens Effects’s Lens Motion filter was used to create the Vertical motion blur although PS could have just as easily been used. See Image 2 below for more details on how this image was finished.
This beautiful gardenia was also taken at the Harry P. Leu Gardens in Orlando, Florida. Topaz Lens Effects Motion Blur filter’s Zoom was used to get this lovely effect. See Image 3 for more details. Kathleen definitely had some great tips for both photography, including how to use a Lens Baby, and Photoshop – if you like shooting flowers, she is a master at it! Hope everyone has a great weekend – I think I will go try shooting some more flower shots using Kathleen’s techniques this week!…..Digital Lady Syd
Image 1 Info: First the PS Motion Blur settings used were Angle 0 degrees and Distance 375. On a stamped layer (CTRL+ALT+SHIFT+E) was used created. Then to bring out the Lizard more, the free JixiPix Spectrel Art’s Dark Lines preset with the Detail set to 74 was applied – then in PS the layer was set to Linear Dodge blend mode. Just the lizard was painted back in a black layer mask (just press ALT while clicking on the layer mask icon at bottom of the Layer Panel). Since the lizard was too bright, the Density slider in Properties Panel for the layer mask was set to 66%. This plug-in is a great way to add some detail back into an object that is not defined well. (See my How To Use the Free Spectrel Art Plug-in blog.) Next on another stamped layer, the Liquify Filter’s Bloat Tool was used to increase the Lizard’s eye just slightly. Now an Exposure Adjustment Layer could be used to pop his eye so it could be seen even better. (See my How to Do a Quick Eye Sharpening in Photoshop.) Another stamped layer was created and Topaz Texture Effects was opened. Kathleen in her videos showed how to add a folder with your favorite textures in the Textures section of this plug-in. Just click the New box in the upper right corner of the panel in the opening screen. It turns into a Custom (preset) and the big (+ sign is clicked on. Only the Texture Panel was opened – by clicking on the little square next to the texture drop-down field, a new texture folder can be added. This is where loaded in a batch of many of the textures I created (but I could have added up my favorite 2 Lil’ Owls or French Kiss textures – see my Tidbits Blog for website links). Then all the sliders below can be applied to these textures very easily and areas can be masked out with a brush. Other panels can be added at the bottom or another Texture section can be added. This time I applied on of my first textures made in Corel Painter using Skip Allen’s Buttery Oils brushes. Then changes were made to the Opacity, Blend Mode, Saturation, Color and Color Strength in the plug-in. Lots of fun here! On a New Layer some clean up was done where edges looked bad. On another stamped layer, the now free Nik Viveza 2 was opened and 3 control points were added just to the Lizard to give his face and body yet more detail. Used a Curves Adjustment Layer to get rid of an overly bright section on a leaf in center of image. (See my How To Use Curves Adjustment Layer to Dodge and Burn an Image blog.) On yet another stamped layer, Topaz Lens Effect’s Add Vignette Selective – Soft Olive Green preset was applied with these changes: Placement Adjustments – Focus Width 0.55 and Focus Height 0.45 – placed center on lizard (2989, 1404); Tonal Adjustments- Vignette Strength 0.20, Transition 0.40, Contrast 1.51, Brightness 53.02, and Opacity 25.25. I really like the olive color in lots of my images for a Vignette. Then two more Curves Adjustment Layers were created – following the Dodge and Burn technique above – to give the lizard’s head yet a little more pop and to soften down some of the vertical lines. Next Adobe Paper Texture Panel (this is free from Adobe) was opened, a Flypaper’s Raw Linen texture was applied using Linear Light blend mode at 25% layer opacity. This panel is a really cool way to see quickly what a texture will look like on your image. As you can see, I did not settle on a final color for this image until Topaz ReStyle was opened and saw the beautiful way some depth could be added to the image. Created yet another stamped layer and applied the Brandeis Blue preset with these changes: Color Style Hue Primary -0.70, Secondary -0.12, and Fourth -0.62; Lum Secondary -0.19 and Fourth 0.03; Basic Color Temperature 0.20 and Tint -0.34; and Detail Structure 0.34. A Selective Color Adjustment was opened to adjust color just a little more (Reds: Cyan +46%, Yellow -55%, and Black -28; and Yellows: Magenta -26 and Yellow -49). A clean up layer was added to soften some overly bright areas with a low opacity brush. Many of the layers had layer masks applied as you can see in the screenshot. It took a long time to do, but I like the final result now. This Lizard looks like he is really looking around!
Image 2: Lens Effects allows placing the effect in the image with different types of blur (Panning,Rotation, Shake, Spiral and two Zooms). This image used a Rotation (same as the vertical or horizontal effect in PS) – the Motion Amount is the same thing as the Distance in PS Motion Filter. Alien Skins Snap Art‘s Impasto Detailed was used for the texture and the Dodge and Burn Curves Adjustments Layers were used to emphasize certain areas. Lisa Glanz Flying Geese bird png was used with a Pattern Adjustment Layer clipped (ALT+click between the layers) using a sepia watercolor pattern to give the birds some light texture. Topaz ReStyle was used again (Hanging Orangutan – Set to Restyle Color blend mode, Hue Primary 0.02, Third 0.50 and Fifth 0.02; and Sat -0.42; Basic Saturation -0.16; Tone Black Level -0.05, Midtones 0.20 and White Level 0.05 ). The sky was white so I added the blue sky in Nik Viveza 2 using the Color Swatch – this turned out so natural looking. This is a good tip for Viveza which is very good with handling color problems.
Image 3: Wanted to point out that for this image, all the clean up was done first including using Topaz Detail 3 to sharpen the center of the flower and adding one of my textures to soften the background and painting back the flower (set to Overlay blend mode at 53% layer opacity). Two Curves Adjustment Layers were used to Dodge and Burn the background. Nik Viveza 2 was used to darken the corners of the image and add focus to the center. Then Topaz Lens Effects Zoom motion filter was applied. Last the text was added (it is a really old font from 1996 called Abigail and no recent link could be found – there is now a newer different font called Abigail that is not this one). On a New Layer above a simple flourish was added under the text. A Layer Style was created to give the nice effect on the text – learned this was an old Photoshop TV video from 2007 (Bevel & Emboss – Style Inner Bevel, Technique Smooth, Depth 276, Up, size 54, Soften 10, Shading Angle 120 degrees and Altitude 39 degrees (no Global Light on), Highlight Mode Screen at 93% opacity and Shadow Mode Screen at 28% opacity; Inner Glow Blend Mode Lighter Color, Opacity 74%, Noise 0%, Color set to Gradient going from a blue color (#0e2053) to white, Elements Technique Softer, Source Edge, Choke 0%, Size 70 px, Quality Range 50%; and Color Overlay set to Blend Mode Normal, Color Swatch a beige (#93815e) at 100% opacity). Change the overlay color to get different colors in your text.