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 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.
Since I am reorganizing my office this week and probably next week, I am just posting a short blog. I found a free action set from Gavin Phillips that is pretty nice and thought I would share it with you. This beautiful Malayan Tiger was actually yawning at the West Palm Beach Zoo – this was the coolest large cat I have ever seen! He spent a lot of time posing for my camera as I was the only one standing there! Very entertaining!
Used Gavin Phillips free Elegance Action (go to Free Downloads tab and select Free Actions in drop-down) – Gavin is an Action Master! This is a fairly long action that creates several adjustment layers to get the final effect. Mainly removed the Haze mists off the tiger by painting in its layer mask – otherwise not much adjustment in the action layers. Above the action group, a Selective Color Adjustment Layer was used to turn the background into a more cyan color. Topaz (see sidebar at my Tidbits Blog for website link) Texture Effects’s Crisp Morning Run preset (one of my favorites) was added on a stamped layer (CTRL+ALT+SHIFT+E) and just the Texture, Light Leaks and Split Tone sections were used – then a Vignette was added. Nik Viveza 2 (now free) was used to emphasize the face and tongue area. The whiskers were cleaned up using Kyle’s free Animator Pencil. That was it! Love the color and texture in this image.
This image was painted in Corel Painter to begin with using Karen Bonaker Digital Art Academy‘s great tutorial called Sumi-E Secrets so it is not exactly an original. It was fun to try this technique and it was so much fun to paint! When you buy her tutorials, she gives you everything you need including videos, Brushes and Papers that may be required to get the effects, including the deer in this case. I liked the original image at this point, but since I am always trying out different ways to get a little different look, the last iteration of the file in Painter was saved as a PSD file and brought into Photoshop. Then a few special effects like snow and a little glitter was added for the wintry effect. Now Gavin’s Natural Light action was applied as is – it contained 6 layers that can be adjusted. It gave the image a little more of a dreamy soft sunset look.
These purple flowers were taken at the Harry P. Leu Gardens at Orlando, Florida. This was a pretty simple workflow – once the image was brought into Photoshop, Gavin’s Elegance action was run again – I really like the results of this action. Several of the layers were adjusted in the action, but nothing major. Next Viveza 2 was used to add emphasis correctly on the flowers. I really like the effect created by this action.
There are four actions in the set – Elegance, Natural Light, Timeless and Vintage. I plan on trying the other two when I have time – Gavin has done a lot of great actions so check out his website if you like what you see. Hope everyone has a nice holiday weekend here in the US and hope everyone else is enjoying the weekend also! I will be painting!…..Digital Lady Syd
Totally psyched that Topaz (for website link see my Tidbits Blog sidebar) Impression updated their plug-in to Version 2. Know you will see lots about this on the internet, but I am enjoying using it so much I wanted to share some of my initial responses to the program. I am surprised how much more they added to what I considered already a fabulous program! The image above used the a Watercolor II preset with some changes created in version 1 and still works great in the newer version. I call it SJ WC Like Effect-modified preset and can be downloaded in the Community Library. (For more info on post-processing on all images, check out the end of blog – this will give you a feel how many different filters and plug-ins can work together to get these effects.) If you own Topaz Impression version 1, this update is free!!! Best deal around – all of Topaz Labs’s plug-in updates are always free once you own it!
- It is now much more similar to Topaz Texture Effects, which started out with this new interface that includes a Community where you can download presets when something different is needed. This has totally hooked me on Texture Effects, so the possibilities are endless as the Impression Community of presets are added.
- According to Denise over at the Topaz Labs blog, there are now over 30 new loaded presets plus those that will be available in the Community library. And the layers can now be set to all the Blend Modes inside the plug-in.
- New sliders and buttons have been added to the Stroke section – Number of strokes, Large Brush Volume to adjust large areas of color, and Rotation Variation to add randomness to the stroke effects; and in the Lighting section – new Highlight and Shadow sliders.
- My favorite new feature is the Masking section where there are four different masks with different sliders to make your image totally unique. According to Topaz Labs:
- The Spot Mask – Create a soft vignette effect, a subtle transition. It is somewhat like the Radial Filter in Lightroom or the Camera Raw filter.
- The Color Mask – Uses color value differences to create a mask that is great for images clearly defined by color edges.
- The Luminosity Mask – Uses luminosity values to determine edges for the mask and create it. It create detailed effects on light sources and glowing parts of image.
- The Brush Mask – Can brush the effect in and out, and touch up edges around your subject. Use the Color Aware tool to create a clean mask along edges of your subject. This is a wonderful way to add detail to your Focal Point of your image.
It appears that only one Mask can be used for each Impression layer. I particularly like this Brush tab to remove the painterly effect and enhance the detail in your focal point. The large Mask window is very useful to see what is being affected in your image. Wonderful effects can be achieved in this section!
This image of a restaurant located in the Cityplace shopping area of West Palm Beach used the Modern Urban Street Art III preset to get this very modern sketchy feel. (Changed the texture to Grass Patchy set to Texture Strength 0.89, Texture Size 1.00, and Texture Color of Red 255/Green 238/Blue 174).) In this case once the preset was applied, the layer was duplicated. The first layer was set to Color Dodge at 100% opacity and the second layer was set to Divide at 77% layer opacity. Layer masks were added and a few areas that did not look correct were lightly painted out with a soft black brush. This combination worked nicely on this image to give a real Florida look to the image. See Image 2 below for more post-processing info.
Another example of using this updated plug-in. This was a bird topiary of flowers at Cityplace in West Palm Beach – this was actually a fountain where suds had been introduced to the water. For some reason it felt right to add a slight painterly effect to give a wintry cool feeling. This image used one of Impression’s new presets, one which I really like, called Chalk Smudge. In the Masking section, painted out parts of bird so they showed up sharper – then tried to add back a little bit of effect by using the Erase tool (white droplet) to remove areas looking too sharp (set to lower Strength). Opacity slider for all settings was set to 0.74 and to Normal blend mode. See Image 3 for more info.
As you can see, this update contains a lot of new things – some I have not fully explored. All-in-all, very nice update! For my version 1 review, check out my Digital Lady Syd Speaks Out on Topaz Impression blog. Once again the Topaz Labs group has done a wonderful job on their plug-in! I am sure I will be playing with this plug-in for days to come as the original was one of my favorite – now it is even better! Have a great week!…..Digital Lady Syd
POST PROCESSING INFO ON ABOVE IMAGES:
Image 1: Duplicated the layer and entered the Topaz Impression 2 plug-in. Went to the Community tab and downloaded my SJ WC Like Effect-modified preset to apply this result. In a layer mask back in Photoshop, lightly painted back just the two foreground flamingos to bring back a little bit of detail to the birds. Next used a blender brush on a New Layer to clean up a little bit of the messiness caused by the painterly preset from Impression 2. Used another New Layer to add a little line delineation on the trees. Created a stamped layer on top (CTRL+ALT+SHIFT+E) and took the layer into Topaz Black & White Effects. (Used my SJ Old Fountain preset. Settings included: Conversion Basic Exposure: Contrast 0.02, Brightness 0, Boost Blacks 0.06, Boost Whites 0.00; Adaptive Exposure: 0.30, Regions 8, Protect Highlights -0.05, Protect Shadows 0.00, Detail 2.00, Detail Boost 1.00, and check Process Details Independently; Finishing Touches: Silver and Paper Tone: Tonal Strength 0.20, Balance 0, Silver Hue 32.00, Silver Tone Strength 0.50, Paper Hue 32.00, and Paper Tone Strength 0.15; Quad Tone: Color 1 Region 0.00 set to R0/G0/B0, Color 2 Region 142.5 set to R75/G78/B96, Color 3 Region 228.0 set to R222/G220/B172; and Color Region 4 255.0 set to R255/G255/B255; Border – Type Solid Black Size 0.46; Edge Exposure Left and Right Edge Size 0.20, Edge Exposure 0.17, and Edge Transition 0.20; and Top and Bottom Edge Size 0.20, Edge Exposure 0.40, and Edge Transition 0.20; Vignette: Strength -0.47, Size 0.85, Transition 0.61, and Curvature 0.54; and Transparency to 1.00; and in Local Adjustment used the Burn tool to darken the background, Color on the Bird, and Dodge on the trees to enhance where the lines of the trees were.) On a new stamped layer opened Topaz Texture Effects (Used SJ Crisp Morning Run Modified preset – Texture: changed to bright turquoise texture (halfway down on right column) with Opacity set to 0.29; Vignette – Strength 0.60 and Size 0.53 with Color centered on between bird and trees; in Mask painted back the bird and a little bit of light in trees and background behind bird – used Strength of 39 and Hardness of 20 using black.) In a layer mask and the Gradient Tool selected, a black to white gradient was created from top to bottom to darken the upper edges a little. Image 1 is the final result.
Image 2: This image was difficult to clean up – first the Adaptive Wide Angle filter was used in PS to straighten the walls somewhat. Then the open areas that resulted were cleaned up with the the clone brush. Next the Topaz Impression 2’s Modern Urban Street Art III preset was applied and the plug-in was exited. The layer was duplicated and said before, the first layer was set to Color Dodge blend mode at 100% layer opacity and the second layer was set to Divide blend mode at 77% layer mode. A little clean up was done on another layer and finally on a stamped layer, Nik Viveza 2 (now free) was used to bring in the focal area a little – located where the foreground grouping of chairs on the sidewalk. On another stamped layer a Camera Raw filter Radial filter was used to lighten the left side of the image and darkening the right side a little. A little painting was done on a New Layer and the last step was to use a Curves Adjustment Layer to average out the tone.
Image 3: So what was done in this image to get a really surreal effect? First Topaz Detail 3 was used to sharpen up the flowers only (used black mask and painted back only flowers). One of my Corel Painter textures called SJ Beach Scene was used to add a brownish foreground and a light bluish sky. Another one of my textures called SJ Forest and Plains was placed on top to add the wave or outer space feel in the upper left corner especially – it was set to Luminosity blend mode at 79% layer opacity. The background was copied and placed on top – the top part of image was selected and placed in a layer mask so the people and cars in the area were removed. Then several layers were about used to clone out and clean up image areas. On another New Layer, a basic small snow brush was used to add the wintry feel to the sky. A stamped layer was created and Topaz Lens Effects was opened where the Graduated Neutral Filter was selected and set to the Graduated bottom half 2 stops preset. On another stamped layer, Nik Color Efex Pro 4 was used to – Flypapers Fly Book & Skull Preset was applied (this contained the Glamour Glow, Reflector Efex, Film Efex: Vintage, and Cross Processing filters). Another stamped layer was created and finally Topaz Impression 2 was opened where the Chalk Smudge Preset was used. In the Masking section, painted out parts of bird so they showed up sharper – then tried to add back a little bit of effect by using the Erase tool to remove areas looking too sharp (set Eraser brush to lower Strength). Opacity slider was set to 0.74 to Normal blend mode. The birds floral eye was worked on next. The Liquify Tool was used to increase the size of the eye and an Exposure Adjustment Layer was used to make it stand out a little. (See my How To Do a Quick Eye Sharpening in Photoshop blog.) A Red Channel Curves Adjustment Layer was added to blend image a little better. (See my How To Use a Red Channel To Create a Nice Blended Image Effect blog.) On a stamped layer Lucis Pro was used to further blend the sky in a little nicer. (Settings used are Enhance Red Channel 175/Green Channel 195/Blue Channel 149 and Assign Original Image Color set to (0% Processed /100% Original.) (See my Digital Lady Syd Reviews Lucis Pro 6.0.9 (Now Affordable!) blog.) On a New Layer Grut’s FX Cloud Gumbo 01a brush was used to fill in the water to look like built up snow. (These brushes are terrific and very handy for image clean up!) A Solid Color Fill Adjustment Layer was added on top and set to a light beige – it was set to Color Blend Mode at 57%. It made the statue look a little better and the red flowers less saturated – painted out the sky so it was not affected. Last step was a Curves Adjustment Layer to reduce the overall tone just a little. This was a huge workflow, but you can see how the Impression plug-in works very nicely with many of the filters from both Topaz and other vendors.
Loved this vintage image from Shorpy.com, my favorite site for the old historical images, taken in 1902 at the National Cash Register Company‘s restaurant in Dayton, Ohio. I wonder what they are talking about? I found an older tutorial on hand-painting a vintage image and decided to share the technique. Previously I created a blog called How to Colorize an Old Photo blog using Solid Color Adjustments Layers, but this blog technique produces a more subtle hand-painting result. I guess this is why I have a hard time getting rid of my old resources – you never know when something will catch your eye!
Below are the basic steps to create this effect:
1. This technique was found in a book called Special Effects – Restouching and Restoration by Tim Daly in the Chapter Restoring Hand Tints. Basically he suggest you scan your image, or in my case I downloaded an image from Shorpy’s – select an image that is more light-toned rather than dark-toned. As you can see in the original below, this fits the criteria. To lighten your image a little more, use a Levels Adjustment Layer and move the center tab called the Midtone slider so image is lighter.
Also, be sure to go to Image -> Image Size and check out the size and resolution of the image – the B&W above was set to a Resolution of 980 ppi and a Width of 0.837 inches and Height of 1.521 inches. The image was changed to a Width of 8 inches and a Height of 6.627 at a Resolution of 300 ppi.
2. Next need to create a brush to use for adding the color tint. Open the Brush Engine (Windows -> Brush). Select a 45 px soft round brush. Down the side check the Buildup section – this turns on the Airbrush effect in the Options bar (or can just turn on the Airbrush icon in the Option Bar itself). Smoothing should be on in the Brush Panel. In the Options Bar, set the Mode to Color – this preserves the underlying image detail while painting. Set Opacity to 40% and Flow to 100% to start. At this point, I would definitely save the brush by clicking on the Create New Brush at the bottom of the brush Panel (it looks like a piece of paper with a bottom corner folded up). Since there are changes in the Options Bar, I also saved the brush as a Tool Preset – just go to the first (Brush) icon in the Options Bar, click on the down arrow next to it, and select Create New Tool Preset Icon and name it. The brush will now appear at the bottom of your list with the correct settings for both the Brush Panel and the Options Bar.
3. Now the image should be turned to a sepia color, or whatever overall tint that is pleasing. For me a Hue/Saturation Adjustment Layer was opened and the Colorize box was checked – the Hue was set to 27, Saturation 18, and Lightness +9. A stamped layer was created on top (CTRL+ALT+SHIFT+E) to incorporate the two adjustment layers, and the layer blend mode was changed to Color and the Layer Opacity can be lowered to taste.
4. Time to paint using using the new brush. Open the Swatch Panel, select a color, and paint in your image – I painted directly on the image above, but individual layers for each color is a much better way to control the color shades (as done in the tint image below). If the color is too bold, reduce the Opacity and the Flow sliders of the brush in the Options Bar. Tim Daly recommended starting to tint with the smaller areas with similar colors first. In my image above, only the focal point area was painted.
That is all there is to it! Very fun and relaxing. To finish up, add your own effects to the image. In the above, on a New Layer a hatch texture was set added to the brush in the Brush Engine and it was set to Multiply blend mode. The table cloth was then painted to give it a little subtle pattern effect. This is where you can add some of your own creative ideas into the image. A Color Fill Adjustment Layer set to white was used to make the hatched brush texture really white. Adjustments Layers can add all kinds of interesting effects to these tinted images. This image also used Topaz (see sidebar at my Tidbits Blog for website link) Texture Effects – based upon their Crisp Morning Run preset. Just added the oval Border and a white Color Overlay with a low 0.31 opacity.
TIP FOR WORKING WITH VINTAGE GRANULATED IMAGES: You might notice that some of the vintage images have a lot of grain in them, especially in the shadows. A great way to remove this problem is to use a Noise Reduction filter, then add a black layer mask and paint back over just the really obvious areas where the noise is bad. In the above, the faces had a lot of noise. Topaz DeNoise 6 was used, but Nik’s Dfine plug-in which is now free, or Photoshop’s Camera Raw filter-the Detail Section could be as effective. Just adjust to where the really noisy areas look good even if the whole image gets blurry. By adding a black mask (CTRL+I in the white mask) to this layer and using a very low opacity regular soft round brush, paint with white back in the really noisy areas.
Thought I would show you what a landscape type image looks like color-tinted. This image is of the Raleigh Hotel in Miami Beach, Florida on March 4, 1941. I think one of the reasons I am enjoying this technique is that it gives me a chance to really look at the image and see a story in it. To me this is really fun – and it gives a vintage postcard effect to the image. I look at all the people at this resort back during WWII and wonder who these people are – and this hotel is still very popular. What is also interesting about this image is that it is not all hand tinted – mainly just the foreground area has been painted in. Below is the original image so you can see what can be done with this type of image.
Instead of a sepia tone image to begin the process, this one used a cyan-toned tint. Since the image detail is rather obscure the further back one looks, it is not so noticeable that the color is missing. In fact, the palm trees in the center back were actually lightened a little by clipping a New Layer on their layers where the color was applied and light dots of white were applied to softly blend them into the background just a little. Also after painting this image, Topaz Glow was used to make the tint colors stronger in the image – the cyan was to be the main color since it reminds me of resorts and warm water. Topaz Lens Effects was used to add a slight Golden Reflector effect from the right side to play on the palm tree fronds and a very soft cyan vignette was placed around the image as a last step. This image used 22 layers for the different colors and objects. Several mistakes were made using the wrong color and it was easy to just clip (ALT+click between the layers or click on the first icon at the bottom of the panel) a Hue/Saturation Adjustment Layer to the layer and change the color to match perfectly. Therefore I would recommend using separate layers for colors. And do create the brush – it is very useful for this technique!
Hope you give this a try on one of your scanned black and white images or an old vintage image. Lots of fun here! Have a great week!…..Digital Lady Syd
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This week I am presenting just a rather simple technique about how to make your objects blend gently into the image at the end of your workflow. I am not sure I have ever heard of anyone using a Luminosity Channel this way, but it works quite well. The roses above were taken at the Harry P. Leu Gardens in Orlando, Florida recently.
So here is a quick rundown of what was done to this image before the Channel Effect technique. Topaz (see sidebar at my Tidbits Blog for website link) Impression plug-in was used to get the painterly effect. Normally I would hand paint this, but when playing around in the plug-in, the Watercolor I preset was used with adjustments to the color settings. Then some sketch lines were added using a free brush, Kyle’s Drawing Box-Animator Pencil New – it is the best sketch brush I have found for drawing in small lines to differentiate areas in a painting. Used white and light tan to emphasize some of the indistinguishable edges. On a stamped image (CTRL+ALT+SHIFT+E) above Topaz Texture Effects Crisp Morning preset was applied (one of my favorite presets in this plug-in) with the Texture Opacity set way back to 0.17. On another stamped layer the newly free Nik Viveza 2 was used to emphasize the three focal points in the image: the main focal point which is the center of the large flower, the second is the bud and the third is a small area in the large lower left leaf. Next on another stamped layer a slight vignette effect was added using Topaz Lens Effects’s Add Selective Add Vignette filter using the Soft Pearl preset. Below is an example of the Original image as brought into Photoshop and the image before the Red Channel Curves Adjustment Layer was applied.
Now for the Luminosity Channel effect. I learned this trick from a wonderful presentation by Karen Alsop on Creative Live called Using Composite Photography to Create a Fantasy World. There were lots of little tips throughout her presentation, but this one really came across as a real interesting way to get a nice finished look to an image.
- Go to the Channels Panel and highlight only the Red Channel. Click on the first icon at the bottom of the panel called Load Channel as a Selection. Now dancing ants are showing the Highlights as selected for only the Red Channel.
- Switch to the Layers Panel and click on the half black and half white circle (forth icon over at the bottom of the panel) and select the Curves Adjustment Layer or just open the Adjustments Panel and select the Curves Adjustment Layer (the graph looking icon). Voila, the selection goes into the Layer Mask of the Curves Adjustment Layer.
- Now just adjust the curve to make the image appear a little more softer in the highlights – I find that I am slightly pulling down in the middle of the graph to get a more pleasing effect to most images.
This definitely does give a much softer feel to the overall image as you should be able to see in the Tych Panel image on right above and the final top image. I did this as the last step in the workflow. You are not limited to just the Red Channel, try all the different channels – one might be better for different photos. What you are seeing with the mask is that the white areas in the mask will be affected by the curve, but the black areas will not be affected. This means your bright highlights will be slightly darkened and the darker colors and shadows will not be affected by the graph curve. On the above, just the whitest of the whites were affected the most, then less as the colors became darker in value. And remember this is a value effect – meaning lightness and darkness. A Red can be a light color or a dark color depending on the hue that is being used. Just because you have a very bright yellow does not mean it is darker – it is still a light value.
This ocelot was pacing around in his cage at the West Palm Beach Zoo recently. They are nocturnal animals but all the little kids were making lots of noise at the zoo that seemed to be making him nervous I think. He finally found a dark cool tube and was sound asleep before too long. This workflow was very long – just say that it involved lots of filters and hand-painting in Photoshop, and creating a hand-painting a Corel Painter background. Also the beautiful clouds were created from Grut’s wonderful FX Cloud Brushes – the best around! The last step was adding the Red Channel Curves Adjustment Layer and dragging down the curve just a little. It really made the Ocelot look like he was actually part of the added background.
This is a pretty simple trick to use. If you have an object you are trying to blend into the image or just do not like the overall contrast in the image, try this. It seems to be improving a lot of my recent images! Have a good weekend!…..Digital Lady Syd
I finally got a chance to review the newest plug-in from Topaz (see sidebar at my Tidbits Blog for website link) called Texture Effects. The image of the oldest wooden schoolhouse in American was taken at St. Augustine, Florida. I really loved the way the plug-in added a soft pastel effect to the image. This was my second attempt at using this new plug-in and I really loved the effect. See Image 1 info at end of blog for post-processing and preset settings for this image. This preset was uploaded to the Community – to find it, just login to the Topaz site, click on the Browse icon on top right, and search for SJ in the empty field – it is called SJ Soft Pastel Effect.
As most of my blog followers know, I am a big fan of Topaz – they produce some of the most creative plug-ins that can be found in this highly competitive field. Once again Texture Effects is a great creative venture and since textures have been “all-the-rage” for the last several years, this fills a really nice niche for us Photoshop creatives! Topaz says there are 275 high resolution textures, borders and light leaks and seven collections (Earthy, Ethereal, Gritty Grunge, Lo-Fi, Pop Grunge, Soft Grunge and Vintage) with over 160 customizable effects.
The image of the Tricolored Ginger Plant above shows a pretty standard result to expect with this plug-in right “out of the box.” The Distressed Contrast preset was applied and only an additional Border section was added to the preset. I really love the vintage illustrative effect that was created rather quickly. By adding sections like the Dust/Scratches, Light Leaks, and some of the Border options, a definite vintage flavor can be achieved. But it does not have to have a vintage feel. For more info on the above, check out Image 2 at end of blog.
This Cottage Garden shop image (no website link could be found) on King George Street in the old historic district of St. Augustine, Florida is a bit more realistic. The same preset was used as on the first image but with some tweaks. See Image 3 for post-processing details and changes to the preset.
What I Like About Topaz Texture Effects
- It is pretty cool to be able to download other people’s presets to see how they put their effects together, even though I do not like to access the Cloud info.
- Totally love the fact that an effect can be started from scratch and there are various effects that can be combined – you do not even have to use a texture!
- Love that textures that I already own can be added to my images. Also light leaks, dust/scratches, and borders can be added. More on this below.
- It is great that there is a mask for most sections provided so the individual effects can be localized. A section can added several times to a stack, so if you want two different Light Leaks, for example, two different Light Leak sections can be chosen with totally different settings.
What I Don’t Like About Topaz Texture Effects
- Don’t like logging into their Cloud each time to see all the other effects, and it seems I have to manually do this as it does not remember me even though the box is checked. . On the positive side, they have included a nice selection of their own presets to use so logging in is not always necessary. It can take a while to populate the presets once the Browse icon is clicked since the default is to load both the Community and Local presets – that’s a lot of presets!
- Wish more than one Spot could be added in the mask areas. I know, use the brush in the masks – just would be a nice to have. And wish a section could be dragged up and down without losing the layer mask previously created.
- Wish the black and white drops that change the paint color on the mask brush could be connected to a short cut key like X that Photoshop uses to switch between foreground and background color. It would make it much faster to paint in ore remove an effect in the mask.
- Sometimes the plug-in will crash on opening – just try it once or twice again and it will probably open correctly. I believe Topaz is working on this issue. I have always been able to get it to open eventually.
If you want to just jump right in and start using the program, check out Topaz Labs blog called Topaz Texture Effects Quick Start Guide for some quick beginning tips.
This image was taken from Edinburgh Castle in Scotland a while back – one of my favorite images to try things out on and Texture Effects worked great! Apparently I like the Diffusion section as I seem to add it in a lot. With the individual masks for each section or the overall image, a very localized effect can be applied. I have always loved Topaz’s diffusion effect which is available in several of their other plug-ins (Adjust, B&W Effects, and Lens Effects) and by painting out where I do not want the look, it comes out very unique. On the above, only the big puffy clouds and a little bit of the edges of the image has the diffusion applied. See Screenshot below to see how the mask looked and what the settings were to apply this. On the right is listed the sections that were applied to this image – several were reopened and tweaked some more to get the final result. (Click on image to open in Flickr for closer look.) To see original image, check out View from Edinburgh Castle on Flickr.
For more post-processing info, check Image 4 below. What was cool with this image is that one of my purplish textures was used to give a cooler tone to the image. By adding the Dust/Scratches section, Light Leaks, and some of the Border options, a definite vintage flavor can be achieved. To see how Texture Effects looks on one of my funny bird images, check out my Tidbits Blog called Feeling Spiffy!
The sections that can be manipulated are: Basic Adjustment, Diffusion, Edge Blur, Edge Exposure, Film Grain, Posterize, Split Tone, Vignette, Borders, Color Overlay, Double Exposure, Dust/Scratches, Light Leak, and Texture. That means there are a lot of different effects that can be changed and very quickly. Many presets have a Basic Adjustment section at both the beginning and end of the stack – this is due to the fact that textures can reduce the contrast in an image and it needs to be added back in. Save as a preset the final result, and then save on line. If sharing a preset, be sure that there are none of your own textures or borders, etc., in the preset – it will cause problems when sharing if they are not available to everyone. Be aware that if a change is made to a preset, and then another preset is selected, upon return to the original preset, the settings go back to the default. The Texture Effects manual covers what all the sliders do and gives a great over-view of the plug-in.
To add additional effects to section (they can be added to Texture, Dust/Scratches, Light Leaks, and Borders sections), just click on the drop-down button at top right of the section. Try downloading my SJ Holiday Overlays which includes two .png snow files with transparency into the Dust/Scratches section by clicking on the upper right folder icon (it also takes .jpg files), name a new folder for your files, and add them (they can be deleted later here if they do no work out) – select in the Dust/Scratches drop-down to add a really nice snow effect to the image. When added as a texture they looked really bad so be sure to try different sections if one does not look right. Remember you can add the Dust/Scratches section again to add other types of effects. Some nice borders that can be downloaded and added to Texture Effects can be found at 50 free photo frames and borders. Some nice new free Light Leaks have been added by one of my favorite texture guys, Shadowhouse Creations – check out his whole site for great textures!
Once again, Topaz has created a very addictive plug-in – I could play all day just adding different combinations of filters to my images. The idea may not be that original since we all have been adding textures to our images for a while. But they make it very easy to adjust opacities, blend modes, amount of detail, saturation and color strengths or variations both overall on the image or locally. Very powerful technology here. If you are at all into the creative aspect of Photoshop and love textures, this plug-in fits right in. To me, it very similar to my favorite ReStyle plug-in that I find indispensable! Personally I think I will use it a lot!
Hope you get a chance to download and try out Texture Effects. If you like other Topaz products, you will not be disappointed! See ya next week!…..Digital Lady Syd
Image 1: In Lightroom the Schoolhouse image used a new preset I received from Jared Platt (by subscribing to his newsletter) some nice Lightroom presets and this one is called Faded Warm Color. The doors and windows were sharpened with the Adjustment Brush. In Photoshop the Adaptive Wide Angle filter was used to straighten the building as there was a lot of distortion in the image. Since this filter was used, the Content-Aware Fill command had to be used to fill out the areas that were left transparent. On a stamped layer (CTRL+ALT+SHIFT+E) Topaz Texture Effects was opened and a new preset was created by clicking on the far right icon that says New. I just started experimenting with each of the sections, adding and deleting them, until I found an overall effect I liked. This preset was uploaded to the Community – to find it, login to the Topaz site, click on the Browse icon on top right, and search for SJ in the empty field by the eyeglass – the preset name is SJ Soft Pastel Effect. (Here are the actual preset settings: Basic Adjustment – Brightness -0.49, Shadow -0.15, Highlight 0.33, Clarity 0.27, Saturation 0.31, Temperature -0.29, Tint 0, and Opacity 0.93 – no mask; Diffusion – Strength 0.57, Softness 0.38, Blur 0.39, Mask set to Brush – black with brush Strength 37, Brush Size 21, and Hardness 20 – painted out the area around the door and windows and some on the flowers; Split Tone Highlight Saturation 0.12, Highlight Hue 0.48, Shadow Saturation 0.07, Shadow Hue 0.70, Balance 0.63, and Opacity 1.00 – no mask; Vignette – Strength 0.33, Size 0.70, Transition 0.42, Roundness 0.66, Color Black, effect centered, Opacity 0.93 and no mask; Borders – the second row up from bottom on left – masked out the lower foreground area which had turned an ugly greenish color; Texture – ninth row down first texture – Size 1.00, Opacity 0.63, Blending Mode Saturation, Detail 0.07, Saturation 0.08, Color Strength 0.14, Color 0, and masked out the top left corner and bottom left corner that looked too reddish with black brush set to Strength 100, Brush Size 63, and Hardness 20; and Light Leaks – 2nd row from bottom and left column; Size 1.05, Blending Mode Color Dodge, Saturation 0.68, Color Strength 0.46, Color 0.45 – this section really gave the lightness in the trees to show where sun is.) A Curves Adjustment Layer was applied with just a little contrast added to the darker areas. On a stamped layer Nik Viveza 2 was used to emphasize my focal point of the front door and windows of the school. A clean up layer at the end and that was all that was done. I really like the soft painterly feel in this image.
Image 2: This plant was first processed in Lightroom using Dave Delnea’s Backlight 002 Horiz preset (his presets are some of my very favorites, especially since he has created some very nice lighting effects in them) and some Basic section subtle changes. Once in Photoshop, Topaz Detail 3 was opened and a preset called Small Detail for Fur by Blake Rudis (see his Topaz ReMask 4 Tutorial video which contains the settings for this preset) was applied – check out Blake’s website as he has great tips on how to use Topaz products. On a stamped layer, Topaz Texture Effects was opened and the Distressed Contrast preset was applied. Only changed the bottom Basic Adjustment (Brightness 0.11, Shadow -0.19, Highlight -0.29, Clarity 0.88-the high settings added the illustrative look to the image, Sat -0.39, Temp -0.14, Tint -0.02, and Opacity 0.79) and added a Border – third row down on right and no changes to settings. In Photoshop a Levels Adjustment Layer was used to slightly flatten the blacks in the image to enhance that vintage feel by setting the Output Levels to 15 and 255. Last step involved adding Nik Viveza 2 to slightly brighten and sharpen the focal point in the lower right center.
Image 3: In Lightroom Blake Rudis’s Tonal Contrast HDR 2 2 preset (could not find a link for this) was used and some color changes were done with the HSL section. No sharpening or noise reduction was used. Then opened image in Photoshop and duplicated layer. Added Topaz Detail 3 to get a nice sharpening effect using my preset called SJ Darken and Soften Green Background (Settings: Selected in Detail section only the Shadow: Small Details -0.65, Small Details Boost -0.65, Medium Details -0.76, Medium Details Boost -0.71, Large Details -0.80, and Large Details Boost -0.71; Tone section Exposure -0.36, Contrast 0.61, Highlights 0.18, Shadows 0, Whites -0.17, Blacks 0.03, Cyan-Red 0, Magenta-Green -0.03, and Yellow-Blue 0.27; Color set to Cool 1 preset in pop-out or Temp 0.10, Tint 0.03, Sat 0.10, Boost 0.) On a duplicated layer, applied Topaz Texture Effects. Here are the changes to Image 1’s SJ Soft Pastel Effect preset settings used to create the effect in this image. (Changed Basic Adjustment: Brightness -0.10, Shadow 0.84, Highlight 0.37, Clarity 0.79, Saturation 0.86, Temperature -0.07, Tint 0.17, and Opacity 0.96; Diffusion: Strength 0.29, Softness 0.30, Blur 0.21, and Opacity 0.58 – no mask; Light Leak – Bottom left leak – Size 1.25, Opacity 0.83, Blending Mode Pin Light, Saturation, Color Strength and Color all 0, and a mask was painted using Brush Strength of 33, Brush Size 7 but varies, and Hardness 0; Added a turquoise Color Overlay and set blending mode to Lighter Color, Opacity 0.120, Spot Mask and centered on hammock so only outside the circle was affected, Transition 0.62, Color Aware Strength 0.57 and Density 0.02. Created SJ Darker Soft Pastel Effect. Created SJ Darker Soft Pastel Effect.) Back in Photoshop a Curves Adjustment Layer was opened where a slight S-curve was used to apply a little contrast overall to the image. On a stamped layer Nik Viveza was used with 3 control points centered on the swing, balloons on left side and basket on bottom left. Only little tweaks to adjust the focal point correctly. Some clean up layers were added to cover light splashed over into the background. That was it!
Image 4: In Lightroom Blake Rudis’s HDR Look Medium 4 preset was applied. In Photoshop I went right into Topaz Texture Effects and used the Winter Fairytale preset to start the effects on this image. (The changes to this preset are as follows: Basic Adjustment – Brightness 0, Shadow -0.31, Highlight 0.25, Clarity 0.01, Saturation -0.38, Temperature 0.14, Tint 0, and Opacity 1.00; used one of my downloaded soft purple textures set to Opacity 0.18, Blending Mode Overlay, Detail 0.35, Saturation 0.96, Color Strength 0.77, Color 0.47; deleted the Light Leaks section; Color Overlay – set to a solid blue, Blending Mode Color, and Opacity 0.04; Edge Exposure – need to set all 4 sides so left side Exposure 0.35, Size 0.50, Transition 0, Color Strength 0.82, Color 0.76, and Opacity 0.83; top side – 0.23/0.50/0/0.82/0.76/0.83; bottom side – 0.21/0.50/0/0.82/0.76/0.83; and right side – 0.21/0.72/0/0.82/0.76/0.83; Diffusion – Strength 0.70, Softness 0.43, Blur 0.01, and Opacity; and added Split Tone – Highlight Saturation 0.12, Highlight Hue 0.07, Shadow Saturation 0.10, Shadow Hue 0.60, Balance -0.45, and Opacity 0.70. Created preset called SJ View-mask out diffusion; and in Mask section, used black brush and painted in some green highlights in the foreground trees, some red smokestacks and brown buildings just to add some interest.) The last step was to add a Curves Adjustment Layer in Photoshop to add just a little contrast.