This beautiful image was originally a black and white taken on one of the last days of the NASA Cassini-Huygens Mission using its Wide Angle Lens. The Moon Tethys is in the upper left background. My original thought was to just try painting different colors into the rings to get an unnatural but pretty color effect. To my surprise, Topaz Studio using both Clarity and the new Detail adjustments were a quick answer to get the beautiful result.
Here is the workflow followed to get the above results:
- First downloaded the image from the NASA Cassini-Huygens Mission site – scroll halfway down to find image pia21342-1041 where both tiff and jpeg files can be downloaded. The image above used the tiff file, but the jpeg file worked out pretty good even though it had such a small resolution. (The bottom image of Mimas was two jpeg files that were 59 and 67 KB.)
- Open in Photoshop and go to Image -> Mode -> Grayscale and change image to RGB.
- Go to the Image -> Image Size – set resolution to 300 by unchecking the Resample box, enter 300, and recheck (the jpeg file is at 72 ppi but the tiff file is 300). Can now go in and change size in inches and set to Preserve Details (enlargement) in drop-down menu if needed. Can also Reduce Noise if noticeable at this point.
- Duplicate image and open Topaz Studio – apply my SJ Saturn Rings. The preset has been uploaded to the Topaz Community. The colors were set in the Color Theme Adjustment so the colors in the rings can be changed to any colors wanted by just clicking on each square in the New Color Theme settings swatches and selecting new colors.
- Added a Green Luminosity Curves Adjustment Layer to increase the contrast just in the green channel. (Same technique as using a Red Luminosity Curves Adjustment Layer – see my How to Use a Red Channel to Crete a Nice Blended Image Effect blog.)
- Since Detail was just added to Studio, a composite image (CTRL+ALT+SHIFT+E) was created above and went back to Topaz Studio -> Detail. Since I am having trouble with my presets and am working with the Tech Team, the settings are just listed here (Detail in TSO – Overall-Overall Small Detail 0.34, Small Detail Boost 0.67, Medium Detail 0.51, Medium Detail Boost 0.31, Large Detail 0.53, and Large Detail Boost 0.31, Lighting Midtones 0.29 and Highlights 0.63. In layer mask painted out the rings and left the background dark to keep noise under control – used brush set to Mask Transparency 0.80. Channel Mixer Adjustment – Adjusted Lightness Channel-Red 1.73, Green -0.23, and Blue 0.34, then painted out background so only just the rings received the effect). Back in PS the layer was set back to 80%.
That is all that was done to this image. It was a lot of fun and I love the results, even though the rings are not quite those colors. The point is that it took only a few minutes to do this image – no hand painting – it just picked up the colors. The Color Theme Adjustment did most of the color work and then Detail’s new Color Mixer Adjustment tweaked it a bit.
This updated Detail is much like the updated Clarity as it is also divided into two adjustments: Precision Detail and Color Mixer. Since it just came out, I do not have much experience working with all the sliders – the Channel Mixer Adjustment appears quite different from the original Topaz Detail 3 interface. But I am enjoying having the sliders available for quick use when needed. Here is a quick reminder of what some of the sliders do in the new Precision Detail Adjustment:
Small Details – Affects visibility of fine details in image
Small Boost – Weakens or strengthens the smaller details
Medium Details and Medium Boost – Affects visibility of the medium details with Boost weakening or strengthening the effect
Large Details and Large Boost – Adjusts visibility of the large details with Boost weakening or strengthening the effect
Sharpen – a new slider added – it does seem to add in more detail.
There is a new section called Lighting which contains sliders for Midtones, Shadows, Highlights, Black Point and White Point – same sliders from Detail 3 except the Midtones slider has been added and the Exposure and Contrast sliders are now removed.
The Channel Mixer Adjustment was also added to complete the update of the old Detail 3. It contains a totally new interface from the original Tone section that contained Cyan-Red, Magenta-Green, and Yellow-Blue sliders – these correspond to the Red, Green and Blue channels in this adjustment. There is also a Gray swatch which represents the Lightness of the image. I need to find out more on these sliders, but each have Red, Green, Blue, and Constant sliders. In the Adjustment Preset drop-down, there are several presets (Cloudy Evening, Faux Infrared Landscape, Red Contrast, and Red Green Switch) that can be tried out to see what happens with these sliders. A Maintain Brightness and Monochrome toggle switches were also added. Lot to explore here.
The image above is a composite of an upper and lower level NASA images taken in March 2017 from the same site. Topaz ReStyle was used to introduce the color palette. Topaz Studio’s Precision Detail Adjustment, Color Theme Adjustment, and Impression Adjustment were all used to get this almost poster like effect. For the Precision Detail Adjustment, a layer mask was opened and Luma was selected so just the moon was selected and the background was black – Luminosity slider 0.11 and Range 0.01. In PS Saturn was added in on separate layers with some brushes I had created a long time ago. On a final stamped layer on top, Nik Viveza 2 was used to soften the rough edges between the sharp shadow lines of the moon.
A couple of things I noticed – it appears that they are removing the older versions of the plug-ins in the Plug-ins drop-down and just adding them into the Studio Adjustment lists. Am checking on this as I would like to have the old ones still available. Also, there appears to be the original category preset choices on the left side that correspond to the plug-in being used by clicking on the drop-down menu under the Search field.
Try downloading some of the wonderful imagery from NASA and see if you can create a magical feel. Just remember all the beautiful Hubble images were originally black and white images and the colorization used is similar to what was created in this blog. Hope you have a wonderful weekend…..Digital Lady Syd
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Lots of times I have found or created a texture I really like that I would like to use in an image but not sure where. So this is a blog on how to create images for that texture, and possibly get your creative mind going. Not particularly a new concept, but a little different approach for using texture. It also gives you a chance to brush up on your compositing skills and try out some nature brushes. The image above is an example of my using a texture that I created in Corel Painter and used in this image originally.
There are not a lot of steps to this process. Just open the texture above a white Background layer in case the texture needs to be set to a different blend mode or opacity amount. Next add elements and/or text, and finally do the finishing steps as if post-processing an image.
That is exactly what was done above – here is the workflow for this image to demonstrate the steps. The texture was added and left as it is. Next Photoshop’s tree filter was used to create this pretty foreground tree. If you have not experimented with this filter, give it a try. (For more on this see my How to Create a Photoshop Artistic Tree.) It is so much fun! These are my tree settings – most of the settings were changed to get the tree effect shown above. (Base Tree Type: 19: Fraxinus Griffithi which is an Evergreen Ash, Light Direction 85, Leaves Amount 22, Leaves Size 130, Branches Height 94, Branches Thickness 77, Uncheck Default Leaves and select 8: Leaves 8, Uncheck Randomize Shapes Arrangement 21.3.) A layer mask can always be added if you do not quite like the way the branches look – in this case some of the leaves were too dark so a 30% brush was painted over them in the mask to lighten them up. The Liquify Tool can also be used to get the branches sitting just right. A Hue Saturation Adjustment Layer was clipped to the tree to make it more golden in color to match the texture. The texture looked like a golden wheat field to me so a little red barn from PixelSquid was added – a mask was added so the bottom of the barn could be removed and hide it from view. The layer was set to 55% layer opacity so it is looks a little less sharp and more distance. I love the brushes by DeviantArt’s ninelvlsup and her Dandelion Whisps brush was used in the foreground. Some of the edges were removed with a layer mask. The birds are from a Flypaper Bird Set that I use all the time. To soften the effect of the birds, a Pattern Fill Adjustment Layer was clipped (ALT+click between the layers to clip) to the birds and a yellow and red pattern was used. The bird layer was set to Multiply blend mode at 77% layer opacity. The last element is the single bird from the same brush set called Big Crow Fly Birds brush – it was duplicated and the top layer was set to Multiply blend mode at 65% layer opacity to emphasize the bird a little more. The elements are now in place. A stamped layer was created (CTRL+ALT+SHIFT+E) and Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle was opened. There a different color palette was applied – one that was less bright and yellow and created a cooler color tone – the preset was created from another image. (See my Flagler Beach Pier image for color palette used.) This layer was set to Color blend mode. The final steps are what I generally do when finishing up a regular photo image. Not all my steps were used here but a lot of them. A Levels Adjustment Layer was added to add some contrast back. On another stamped layer Nik Viveza 2 was used to shift the focus back over to the bird from the barn. On a New Layer a little spatter brush was used to give the grass a little life – I wanted it to look like little bugs flying around. A soft orange Light Leak was added to the top left for a bit of color in the sky. A Red Channel Luminosity Curves Adjustment Layer was added to pull the whole image together. The last step was to add a layer style to the edge for a soft brown border – just an Inner Shadow set to Normal blend mode, brown color, Distance 0, Choke 53, and Size 29; and Inner Glow set to Saturation blend mode, Opacity 100%, white color, Softer Technique, Edge, Choke 0, and Size 250 pixels. Know this got a little long, but it is a pretty good example of how to pull a composite effect together once the texture is chosen.
Below are two examples of using basically the same elements in the same place but used with different textures that give a totally different look. This image used a really colorful background texture that I created using a whole bunch of the brushes in Grut’s Inky Leaks Splatter Brushes, which are fabulous brushes. Here is a link to how this texture was used before. It gives a subtle effect especially in the sky in the above. Here is a quick run-through of the steps using a very similar workflow. The tree was created using the PS Tree filter again (the Pine Tree 2 was used) and duplicating and flipping it to make a second one. The deer element is from Tara Lesher (could not get weblink to work). Frostbo Grass Set 2 brushes were used. The flower under the large tree is actually from a recent Checking Out the Buds Tidbits Blog. I try to save out anything that could be used again for other images. The flying ducks are also from the Flypaper Bird set above. A light leak was added on right side. A Van Gogh preset was applied in Topaz Impression 2 – a layer mask was used to paint back the deer, birds and tree trunks. Three more textures were used get even more of a painterly look: one of mine which had yellow and a slight bluish vignette around it and set to Darken blend mode at 57% layer opacity (used Topaz Texture Effects in PS to create it), 2 Lil’ Owls (for website link, see sidebar on my Tidbits Blog). The Grey Collection 3 was set to Overlay blend mode, and her Ancient 1 set texture 2 was set to Linear Light at 28% layer opacity. Nik Viveza 2 was applied to adjust focus. Last step added a Color Lookup Adjustment Layer using a Candlelight preset – it was set to Linear Burn at 10% layer opacity. Pretty much the same as above but very different result.
In the image below I wanted to show how a different texture gives a very different result. It contains the same basic elements except that the grass was created using Aaron Blaise‘s Foliage brush set and Directional Fur and Hair brush set. I was really surprised what nice flowers and grass can be created with these brushes. The texture is another one I painted in Corel Painter. The font is called Winter Holidays. I am not sure I have ever used this texture before but I like it. The reason this image looks so different is that the PS Lighting Effects filter was used to set the lighting on the right side. Otherwise the image was post-processed as the first one.
This week just continuing with my playing in Photoshop – great time to enjoy it when it is so hot outside. Not sure how I came up with the Gondola at the Alcazar Hotel (Lightner Museum) in St. Augustine, Florida, but it happened. What actually happened is that I really liked the wrought-iron lights in the image – taken in noon sunlight on the hottest day – so that is how this all started.
Content-Aware Crop Tool – The image needed to be expanded to the right to make it look balanced in my eyes so the Crop Tool was selected. By stretching the outline outside the boundaries of the image and checking Content Aware, PS attempts to fill out the blank area. This turned out to look a lot like the building set to a smaller size and reversed, so that is what is shown here. Some clean up had to be done, but it is definitely something to explore if a creative element is needed for filling in your image size. And remember that if you do not like the results, just rerun the Crop Tool and a different result should happen.
The result made me think about adding Flaming Pear’s Flood filter, which is one of my favorite plug-ins of all time. And regarding the fact that these old filters will not work in your current PS – my version of this filter has been around forever and works just fine, although the link is to a newer version now available. So do not get rid of your Nik filters just yet – they may last a long time. Back to the Flood filter – I have yet to run into a filter that gives this perfect water look yet – in this case it was set to for smooth water with quite a bit of reflection. A beautiful texture by French Kiss (for website link, see sidebar at my Tidbits Blog) called Atelier Anemone was placed on top and set to Multiply blend mode at 47% layer opacity. A gondola seemed to be needed to create the story for the image so I just found an old gondola image and sketched out the boat and a person. Then painted in the drawing created from the image using a brush called Scraggly Brush (Charcoal Large Smear) by Kristen Palana from a fun short class at Udemy called Quick and Easy Digital Painting. The gondola and man were not supposed to look too realistic but more painterly. The little stars were from Media Militia Particle 018 brush. On a New Layer filled with 50% gray and set to overlay, black and white brushes were painted on the layer to dodge and burn the image. Next Kim Klassen’s Pumpkin Grunge texture (you can actually still download a low res version if you click the “HERE” in the text) was applied, set to Hard Light blend mode at 18% layer opacity. This is a really nice texture to add – for some reason the bright red-orange gives an interesting result. On a stamped layer (CTRL+ALT+SHIFT+E) Nik Viveza 2 was used to adjust the lighting just right in the image. A border was added and color adjusted using a Curves Adjustment Layer. Lots of other adjustments layers were added to adjust several of the layers throughout the image. Just clip (ALT+clip between the layers) them to the different layers if you want only one layer adjusted.
This image is of a Monarch Butterfly that was extracted from my front yard image and placed in this fantasy garden. GrutBrushes has a wonderful background paper called Dee Print that was placed as the background for this image. Then two beautiful brushes by ninelvlsup at DeviantArt called windflower and dandelion whisps were used for the background elements. The Warp Filter (CTLR+T, then Warp in Options Bar) and layer masks were used to get the effects needed on these elements. Aaron Blaise’s Canvas Texture Brush 46 32 was used to get the flower center texture. One of Sebastian Michael’s edges was used for the frame. 2 Lil Owl’s Workshop Texture 1 which has the star pattern in it was placed on top and only inside the frame, then set to Linear Burn blend mode at 66% layer opacity. On a stamped layer Nik Viveza 2 was used to even out the distribution of color and tones. Topaz (for website link, see sidebar at my Tidbits Blog) ReStyle set to the Zinneas preset was applied and set to 35% layer opacity. A Hue/Saturation Adjustment Layer was used to get this final color palette. Lots of adjustments layers again throughout the image to get the final effect. Lots of fun here!
Not sure there is a lot new here other than the Crop Tool which turned out to give an interest effect. I actually tried it on another image and got another interesting result so give it a try. And do not forget Topaz ReStyle if you own it, it can really give an image a whole different feel – another of my favorite plug-ins! Hope everyone is having a great end of summer – I know I am, although a little cooler weather would be nice……Digital Lady Syd
This week I am just taking it easy and playing around with some text and images. Sometimes you just have to let the creative side play and see what happens! Anyway, this is how Digital Lady Syd takes a break! I just can’t get away from Photoshop! I do not usually use other individuals’ images, but for practice it is great – I do not see me getting to these beautiful mountains soon! There are many resources today if you would like to try a few new things.
In the image above a text layer was placed in a new document – the font used was from a CD bought years ago by Cosmi called 04, a fabulously fat font. The Create Warped Text icon on the Options Bar was double-clicked and in the Warp Text dialog, a Style called Arc Upper was selected with a Bend of +50%. A Stroke Layer Style was set to a Size 7 px, inside set to Color white. The Default Drop Shadow was added. Some splatter brushes from French Kiss (for website link see my Tidbits Blog sidebar) were used above and underneath the text to add the crazy effect. A Pattern Adjustment Layer using a lace pattern was clipped (ALT+Click between the layers) to add a lacy effect in some of the strokes. (The Pattern used was a black and white lace texture from a set redheadstock at DeviantArt called Lace Photoshop Patterns.) The SS-Groping 1 Flying birds are also from redheadstock and set to 73% layer opacity. One of my painted textures was placed on the bottom and a Black and White Adjustment Layer was used to desaturate it. On a composite layer (CTRL+ALT+SHIFT+E) Topaz (for website link see my Tidbits Blog sidebar) ReStyle was applied using the Snow Cover II preset with a few adjustments to the Color and Tone sections. The lower text font was called Berlin Sans FB Demi. On a layer above the text, Grut’s FX IL Bottle Topple brush from his terrific Inky Leaks Splatter brushes was applied to slightly cover the text – set to 64% layer opacity (and do not forget to look for his free brush of the week – it is a great way to get introduced to his big selection of brushes).
The original of the woman shows her standing in the middle of some orange colored leaves – I think she looks like a princess! (See Kuoma Stock Haunted 13 for original image at DeviantArt.) The woman was extracted from the background using the Select and Mask Command. Another one of my painted backgrounds was added and a couple layers of splatters were added behind the girl. Color was added to her face and nails and hair added into the image. On a New Blank Layer heart brush was created from the Custom Shape Tool (in Options Bar select the Heart Shape and set the 2nd button to Shape; go to the Paths Panel and click the Create a Selection icon at bottom; go back to Layers Panel and fill selection with black by ALT+Backspace to fill; with Marquee Tool, select the black Heart and go to Edit -> Define Brush Preset and name Heart). Settings for the brush are: Brush Panel’s Brush Tip Shape Spacing 25%; Shape Dynamics Size Jitter 93%, Control Pen Pressure, Angle Jitter 12; Scattering Both Axes, Scatter 1000%, Count 1, Count Jitter 0; Color Dynamics Apply Per Tip, Foreground to Background 8%, Hue 7%, Sat Jitter 2%, Brightness Jitter 7%, and Purity -36%; Transfer Opacity Jitter 20% and Flow Jitter 32% and Smoothing on. Two New Blank Layers were used to add in different colors (white and light pink) hearts – one layer’s Layer Style ws opened and set to Bevel and Emboss to add a little texture to some of the hearts. Topaz Texture Effects 2 was opened and the Breaking Down preset was applied with the Spot Mask used to remove effect from her face. Duplicated the layer and opened up the Corel Painter plug-in (I am still using the old version) – the Flame brush was selected and pink and light color flames were painted just for fun. The old frame is from the Scrapbooker itKuPilli and is in a set called Amazing Grapes (could not locate). The font with the hearts is called Fiolex Girls. On top 2 Lil’ Owls Color Bokeh Grunge Set texture 4 (for website link see my Tidbits Blog sidebar – this is one of my favorite sets) was applied and set to 38% layer opacity.
This is also a wonderful Unsplash photo by Johannes Plenio called Winter. I got a little carried away post-processing this image until it was brought to my attention that it looked like a raging forest fire – I thought it was an incredible sunset! (See below.) Just an example of good intentions that turned into not so good post processing. Anyway, just a little tweak from Topaz ReStyle and now it is a beautiful wintry image. So most of the dramatic changes were done in the new Topaz Studio using Sharpen, Radiance, Color Theme, Texture and HSL Color Tuning sections (I created a preset called SJ Forest Landscape in the Community if you have downloaded the plugin and would like to try it out). For more info, see my Introducing the Free Topaz Studio blog. This created the sunset look, but also created the nice sharp tree trunks and edges. Back in PS, two Curves Adjustment Layers were used to adjust the RGB curve for contrast, and then the Color using the individual Channel Curves. Next a Levels Adjustment was applied as it just looked good. Then a Black and White Adjustment Layer adjusting the color contrast sliders just a little and then set to Luminosity blend mode. And finally a Selective Color Adjustment Layer adjusted the Yellow color so the little tree on the left showed up better – set the layer mask to black (CTRL+I inside the mask) and painted back just the tree. 5 New Blank Layers were added and set to Overlay blend mode and with a soft round brush, various areas were highlighted with white, yellow, and sky colors. The layer opacities were reduced to taste. It was now a raging fire image! Oh my gosh! Okay, here is a small image so you get the idea and see how powerful ReStyle can be.
Quickly Topaz ReStyle was opened and the Snow Cover II preset (once again) was applied with very few changes – just a few Tone and Detail changes. It was amazing how this preset was able to transform the image. In PS a New Blank Layer was added and Grut’s FX IL Dry Grit brush was used from his set above and snow was painted lightly on the trees. My free SJ Snow2 Overlay slight Blur was added at 75% layer opacity to give some nice snow effect. The Shadowhouse Creations Snow Overlay 11 (his resources are the best!) was added to give a little more snow dimension – it was set to Screen blend mode at 70% layer opacity. The last step added Matt Kloskowski’s vignette (see my Fun Photoshop How to Create a Subtle Vignette Blog.)
Hope you got a few ideas with this sort of lazy Summer Day Blog – have a great week!…..Digital Lady Syd
As you all know, I am a huge Topaz Labs fan so I have been busily figuring out what can be done with the new Topaz Studio. To link to the download, go to my Tidbits Blog sidebar which goes directly to the free download and other info on the different adjustments. I will keep this link going since Studio has it owns Topaz site. I am not ready to do a full review so I will just go over what I have learned and pass on a few thoughts. It appears to be a wonderful upgrade to their original Topaz photoFXlab from several years ago (and which I have always thought was one of their best releases). Studio acts as a hub for all the programs from Topaz you already own. It can be accessed as both a stand-alone program or as a plug-in for Photoshop and Lightroom. Studio is a basic RAW editor that contains several features similar to Lightroom or PS Camera Raw. JPG, TIFF, and PNG files may also be opened in the program. The heart of the editing lies in the various “adjustments” that are applied individually to create an overall original image effect. The London Eye image is an example of combining several of their adjustments to get the final image effect. (The Adjustments applied and saved in a preset are: Basic Adjustment, Precision Contrast, Radiance, Dehaze, Bloom and Posterize, then Reduce Noise and Vignette were applied on a separate layer.) There are also a myriad of presets on the left side that can be selected that contain several adjustments to apply in one click. This is very similar to the original photoFXlab. But now if a feature is not one you like, it can be deleted from the preset.
For starters, the program offers free adjustments to apply to your images. These 10 effects are: Basic Adjustments (similar to photoFXlab Adjustments section), Blurs, Brightness/Contrast, Color Overlay, Dual Tone, Film Grain, Image Layer, Posterize, Tone Curves, and Vignette. Sounds a bit like Lightroom or Camera Raw doesn’t it? If you do not own Photoshop or Lightroom or know someone who does not, this is a great way to process RAW files and it is free download. The program adjustments work from the top down as opposed to bottom up like Photoshop layers. The adjustments actually look like layers, but you are unable to apply them as a group of layers as in PS, but you can create your own presets to use the same settings over again.
The Adjustment Pro Pack contains another 14 adjustments to apply more unique effects to the image. Each adjustment can be downloaded individually and tried out for 30 days before buying. Definitely take advantage of this trial period to see how you like what Topaz is doing with this program. The Pro Pack has some really handy effects such as: Abstraction, Black and White, Bloom, Color Theme, Dehaze, Edge Exposure, Focal Blue, HSL Color Tuning, Precision Control, Radiance, Reduce Noise, Sharpen, Smudge, and Texture. I like the Precision Control Adjustment which is a contrast adder and is a lot like Clarity with the miracle Micro slider and also a pretty nifty Color slider. It is too bad it is not in the original set as it is a really nice effect. Reduce Noise takes some really good info from the Topaz DeNoise program that is so fabulous. And in Sharpen, the Lens Deblurring section is very similar to their Infocus plug-in and works wonderfully. Each of these adjustments can be duplicated and applied more than once. I believe Topaz tried to take some of the best from each of their plug-ins to make editing an image must faster. The image above is of the Hillsboro Lighthouse in Broward County, Florida, and used the Recital 001 preset in Topaz Studio. The image below was used in the stand-alone version of Studio – used Topaz ReStyle plugin’s Rusted Gray and Light Blue preset and then the Basic Adjustment. Quite a different feel to this image that was taken on a very overcast day.
One of the best parts of the program is their Masking features. If you own Topaz Texture Effects 2 or Topaz Impression, the brushes and masking is very similar – but with a difference. Now the mask can have more than one way to localize the effect. Therefore the Gradient and Spot masks can both be used on the same mask or also add in the Brush or Luminance Mask – very nice! This way the adjustment can be localized to just one small area of the image. And they are using their Edge Aware technology that I have loved for years. I am missing the Burning/Dodging, Saturation/Desaturation/ and Smoothing/Detail brushes from the photoFXlab and a few of their other plug-ins like Black and White effects, but hopefully they will be added soon.
If you want to just jump right in and start using the program, check out a short video called Topaz Studio Welcome and Walkthrough by Heath Robinson of Topaz. He goes over the program interface very thoroughly. But to learn a little more about how to use the actual adjustments, check the video Intro to Topaz Studio by Greg Rastami – he gives some great ideas on how to actually use the adjustments on all types of images – very helpful! I know Topaz Labs will be coming out with many more videos as they are pros at getting their fans up to speed on their products. There are also short videos on each adjustment in case you need more info on how to use it.
As stated above, you can still get into your regular Topaz plugins by going to the Menu Bar and selecting Plug-ins to further enhance the image. If you do apply a plug-in, it will duplicate the image in the Workspace at the bottom and now you have to finish adding effects onto the new one – there is not way to know what plug-in was applied by looking at the list in the left panel. I have had a few problems with this if I get too fancy and apply too many plug-ins. Just be aware of this. I know the Topaz group well enough to know that they are definitely working on this issue. The program is automatically updated when new versions are ready so no more downloading and executing new versions – that alone is a great new feature! Another drawback at the moment is that they do not have any tools for removing distractions like a Healing Brush Tool or Clone Stamp Tool – apparently this is going to be included in one of the next updates so watch for this. Below is a succulent plant that uses one of my presets called SJ Colorful Plant Effect that was uploaded to the community and can be found from the preset search section of the program.
Considering that this is a free program and it is hugely complicated, Topaz has really done a fantastic job! It is lots of fun to fiddle around with all the different adjustments and try out other presets – I can see that they will be fine-tuning this program as it continues to grow and will be a real contender in the RAW field down the road. Lots to check out and some incredible effects can be created! I will be using the plug-in more in the future and try to keep everyone updated on all the new software additions. In the meantime I would suggest you download it and enjoy! ….Digital Lady Syd
Recently I have been watching many Photoshop videos. This week I thought I would share some quick tips that I am finding to be very handy. These may be obvious things to many of you, but all of the tips below were new to me. For info on the Blankets image taken at the Native American Festival, see bottom of blog.
Add Noise to Bring an Image Together
This really works and looks nice, especially if a texture was added for a background or creating a composite. Just go to Filter -> Blur -> Lens Blur and set all sliders to 0 except the Noise slider which is set to 4 and Distribution Uniform. Very subtle but nice effect.
Okay – this is something that I never knew was in Photoshop, but what a major time-saver it is (unfortunately it is not in CS6)! We all know pressing the SPACEBAR turns any tool into the Hand Tool, but did you know it can be used to also move the image around the workspace? Go to Edit ->Preferences -> Tools and check the Overscroll box. That is is! What a time saver. Now the image still stays attached as a tab, but it can be moved around to avoid panels opening in the workspace or for close up painting.
Rotate View Tool
Here is a tool I have never used much but will be. It is indispensable when trying to paint in a certain direction or draw black lines around objects. The Rotate View Tool (R) icon is hidden behind the Hand Tool in the Toolbar. Need to select it and then click on your document. A large star-shaped pointer icon appears that indicates the direction of the image – adjust by spinning the document to the angle needed. The cool thing to know is this tool has a “springboard” R key – this means that while painting, just hold down the R key and the pointer icon will appear in the image to readjust the angle, let go, and continue painting! To return image to upright, just double click on the icon or press the ESC key. It is very quick and handy to use. Try it and I bet you will like it also!
Printing Out the Steps to an Action
The individual action steps cannot be printed out, but all the actions in a set can be printed out. To do this, highlight the set that contains the action you want to see. Next hold down the ALT+CTRL keys and Open the pop-out menu in the upper right corner of the Actions panel. Do not lift up on mouse, but just scroll down the menu to Save Actions. When the explorer opens us, the file will show a .txt extension on it instead of the regular action .atn extension. Now the action steps will be listed when file is opened. This is really handy if you are trying to figure out exactly what settings are being used or to trouble-shoot a action that is not working properly. Who knew!!!
Preparing Image for Web
A famous portrait photographer suggested this tip to use after saving your image for print. Add a Levels Adjustment Layer to image and set Black tab to 0, Midtones to 0.95, and White tab to 255, then set Output Levels sliders to 5 and 250. Will look better on the web. To create a more matte appearance, set the Black tab to 14 to flatten out the shadows.
When Scanning Old Photos – What Resolution is Needed?
If you want to make an old image into a larger size, before scanning image create a New Document to the size of 8 X 10inches at 240 pixels/inch for example. Once created, go to Image -> Image Size and in the dialog box uncheck Resample Image box and enter one of the dimension sizes of the original old photo being scanned, say 2 ½ inches into the Width field. Photoshop will show in the Resolution field the number needed for scanning (960 pixels in this case) to make this image 8 X 10 at 240 ppi. Set scanner to 960 pixels to get the image to look right for printing. This is ingenious!
Adjusting Skin Tones That Do Not Look Quite Right
I tried this tip a couple times and it works really well. Add a new layer above a person with bad skin tone and set the blend mode to Hue. Hue shifts just the tones when used on a New Layer. Sample new skin color and paint with 100% brush opacity and a low flow of no more than 2% on skin – it warms up the skin just a little. To adjust lips, use Hue blend mode on painted lip layer. Try using the Color blend mode if Hue is too subtle. By adding a little blue tone to this layer on skin that is too yellow, the skin can look much better.
Select and Mask Command
This command (to be used once a selection has been made) seems pretty much self-explanatory, but there a few things to consider when using this dialog. Did you know that if you hold the ALT key down while pressing the Refine Edge Brush, Brush Tool or the Quick Selection Tool, it will switch between the Add (+) and Remove (-) setting. I have been trying to use the X-key and it does not work. Apparently I forgot this was used in the Refine Mask dialog box. This is a very handy tip for me.
Also, when using Output Settings, check out your image with both the Decontaminate Colors on and off – it does not always create a good result. Note that in CS6, the Refine Mask dialog box actually has a slider where the amount of decontamination can be set – I really liked this slider but they have removed it in the Select and Mask Command dialog box. If you really want to use this feature in CC 2017 just click on the layer mask or create a selection, go to Select -> SHIFT + Select and Mask and the old Refine Mask dialog opens up. Now the Decontaminate slider is available. There is a slight controversy among some Photoshop gurus as to which dialog is best. I personally like the new Select and Mask as it has many more features, just not a slider for decontamination.
Once back in Photoshop if you missed some areas while in the dialog, just duplicate both the layer and layer mask several times to build up the selection.
Merging Layers and Blend Mode Issues
Have you ever noticed that after merging layers, the blend mode goes back to Normal? If a color shift occurs after merging, this is what has happened and the blend mode probably needs to be reset.
Sometimes when creating a stamped or composite layer (CTRL+ALT+SHIFT+E) on top of the Layer stack, a slight color change occurs. This has driven me crazy on several occasions! By setting the stamped layer to Color blend mode, the image colors will go back to the original underlying layer color before the layer was created. This shift seems to occur after using several blend modes and layer styles on different layers with varying the opacities. There probably are other ways to fix this, but I find this tip works pretty well.
History Log Metadata
This is one tip I have used for a long time and it has saved me when I forgot what settings I applied. Create a text History Log of every step that done on an image by going to Edit -> Preferences -> General and check the History Log and the Metadata radial button. Now when you a apply for example a Levels (not as an Adjustment Layer), the settings used can be found by going to File – > File Info and selecting the Photoshop section (History tab in CS6 at top) – a list of everything done to that image will appear. In CS6 can be exported as a .txt file, but in CC need to select all the text (CTRL+A) and paste (CTRL+V) into a text editor like Notepad. Right now some of the settings from external plug-ins will show up in the settings , but this is not working on the newer ones. For example, it currently lists Topaz Adjust actual settings, but only lists that Topaz Texture Effects 2 was used but no settings. Google Nik plugins and On1 2017 products have the preset used listed but no setting info. Also, the actual brush and settings being used will not show up, but if a Tool Preset brush is used, it is listed without its settings. That can be very helpful too. This log stays with the PSD file so you can always go back to it, unlike the actual History Panel states and snap shots.
I hope some of these tips were helpful – not real hard things to do, but just handy to know! Have a nice weekend!…..Digital Lady Syd
Notes on Blanket Image: I wish I knew who was selling these beautiful blankets, but I am sure most of the Native American Festivals will have them for sale. In Lightroom used Kim Klassen’s Melancholy preset to give more of a wilderness feel right from the start. Did a little adjustment brush work on the blankets. In Photoshop on a duplicate layer, Topaz (see sidebar at my Tidbits Blog for website link) Restyle was opened and a Cold Frosty Day preset was applied with a few corrections. This layer was duplicated and Topaz Texture Effects 2’s Crisp Morning Run preset was applied next, set to Color blend mode and a layer mask was opened to remove some of the effect off the birds in particular. The Blend If sliders This Layer tabs were adjusted. A clean up layer was added to remove the price tags. Two Curves Adjustment Layers were opened, set to Luminosity blend mode, and one was set for darkening the image and one to lighten – then both layer masks were inverted to black and just areas that needed more emphasis were painted back. A Spotlight Layer was created, set to Overlay blend mode at 37% layer opacity. Next Nik Viveza 2 was added to add a little focal direction to the image. A Color Balance and Levels Adjustment Layers were added. A Red Luminosity Curves Adjustment Layer was applied. French Kiss’s (see sidebar at my Tidbits Blog for website link) Glorious Grunge Edging was used as a border with a dark blue Solid Color Adjustment Layer clipped (ALT+click between layers) to add color to it. It was a pretty long workflow but I liked the final result. These blankets were really nice!
Just another quick post to pass on a pretty nifty short tutorial that Chris Spooner at Spoon Graphics posted this week. It is called How to Create a Water Painting Effect in Photoshop and it was pretty easy to follow. I have tried it out on a couple different images using different paper, painting brushes, and a few different filters after applying the ones he suggested. Since a Smart Object is created to get the base effect, images can be swapped out without changing the rest of the set up or border once created.
This image is one I took from Stirling Castle in Scotland. After applying the filters and adding a layer mask, a border was created using the McBad Brush 30 that Chris links to in his post for creating the watercolor effect border. In the Brush Panel, try changing the Shape Dynamics Angle Jitter of the brush to something pretty high like 70% to get some nice edge work on the border. For this image, a stamped (CTRL+ALT+SHIFT+E) layer (with the Paper border layer turned off) was created on top of the layers but underneath the border paper. Topaz (for website link, see my Tidbits Blog sidebar) Impression 2’s Abstract Settings-Blake Rudis preset was applied and set to, of all things, Division blend mode at 0.50 opacity. It gave the image more of an overall watercolor effect. I think many of the Impression presets would work well with this technique. A New Layer was added and using Grut I Dusty Covet Brush, lines around the tops of the buildings were sketched in to add a bit of realism and definition to the roofs – then lowered the layer opacity to 80%. On another stamped layer (with the paper layer off) Topaz ReStyle was applied – this time I had a preset created a while ago, but there were probably 20 presets that looked good on it. It seemed to even out the colors that in the final image. To give the image a real watercolor look, Grut’s W Mud Puddle Watercolor Brush was used to extend out the edges of the image into the border with strokes and paint in some solid roof colors and tree areas. As a side note, Nicolai at GrutBrushes has some really good things going at his brush site: a free brush every week (I definitely take advantage of this as different media brushes are presented), a free Photoshop Brushes Sampler with lots of nice brushes and a free Watercolor Brush called Cherry Pectin that is also in the sampler. The Cherry Pectin brush would have worked great for painting border edges also. I think this made a huge difference from the slightly canned look the original tutorial supplied. The image was way too vivid for my taste as a watercolor, so a New Layer was filled with white above and set to 16% layer opacity to calm it down a bit. The last step was to add Nik Viveza 2 to draw the eye to the orange buildings in the lower left corner and the painted bridge.
Well, still taking it easy but wanted to share – hope you get a chance to try out this technique. Chris Spooner has several nice tutorials on his site you might also like. Later…..Digital Lady Syd