Tag Archives: Creativity

Dust Spots!

Dust spots and artifacts are my pet peeve… cannot stand them because they are so easy to fix. However, they can be hard to find! They are definitely the bane of any landscape photographer’s existence, but they can show up in any image and they never show up until you have published or printed an image! It is like magic. As soon as your friends, family, and world can see the image, the dust spots/artifacts miraculously appears and of course, you are at best, the second person to see it. :-/

Even those folks with great eyesight miss them. But here is where we can look to technology for a solution. Lightroom Develop and Photoshop Camera Raw both have dust spot removal tools. But for real success, you have to “visualize spots” to get the most of these tools. Let’s take a look at how this one little checkbox can make a world of difference.

Take this image… unprocessed, right out of the camera. We can see some spots (red arrows) right off the bat. So those can be easily fixed. But the real question will be…. have we missed any? So at a glance, we would like to say we haven’t, but how can we be sure?

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As I mentioned, the best tools for the identification of dust spots/artifacts that I have found are the spot removal tools in Lightroom Develop (the icon shown to the right) ,Screen Shot 2015-01-22 at 2.20.38 PMand in Photoshop Camera Raw (icon shown to the right).  Screen Shot 2015-12-22 at 11.48.12 AMAs these programs are the same, these spot removal tools are also the same. The only difference is the icon used to access them.

Now the tools themselves are great and do an amazing job (most of the time) of identifying the pixels from which to clone the dust spot. But the true beauty of these tools is their ability to identify spots and artifacts in images that we simply cannot see with the naked eye.

Here is how this works. Take the image noted above, we identified 5 dust spots/artifacts that need correction. Let’s see what the spot removal tool finds. To make this a bit easier, I have drawn arrows to re-identify the spots we found in the above image and then circled the additional dust spots/artifacts identified by the software. Take a minute to look back at the color image. Those spots in the sky do not stand out and could easily be missed if it wasn’t for the spot removal tool. So how do we get this masked image, show below? In both Lightroom Develop and Photoshop Camera Raw spot removal tools, there is a checkbox that says “visualize spots”.

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In Lightroom, the Visualize Spots can be found to the bottom left of the center panel: Screen Shot 2015-12-22 at 12.03.43 PM.

In Photoshop, the Visualize Spots can be found at the bottom of the right hand panel: Screen Shot 2015-12-22 at 12.03.26 PM

To emphasize the spots, check the box and then drag the slider bar to the right. This tool will even identify spots in the middle of clouds! In fact, it will identify spots anywhere in an image. Dust spots stand right out, as they have distinct round edges. Notice the dust spots in the sky above, they are hollow round spots and very noticeable. Now you can use the cloning feature (in both programs) to clone out the dust spots.

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In a few minutes, hundreds (which can happen) of dust spots/artifacts can be removed!

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Now, you can finish processing the image! I suggest removing dust spots first, so that whatever processing you do to the image doesn’t exaggerate or further emphasize spots that need to be removed. It is simply easier to fix the spots before their edges are more pronounced with contrast or clarity.

For this image, here is the final result:

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Happy Holidays and Creative New Year!!

Mt. Storm Time Lapse

The other day, I was asked to describe how I created this image:

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I decided it would be easier to write a blog and create a video demonstrating the techniques, than to layout out an answer in a Facebook reply. So let’s get started.

The Set Up

This image was created from 37 different images, created using the time lapse feature in my Fuji XT1. If you do not have time lapse built into your camera, you can purchase a wired or wireless remote with time lapse capability for most camera bodies. The time lapse was set to continue indefinitely, with a 1 second interval between images.  The camera was set to Aperture mode, with the Shutter speed determined by the camera. A sturdy tripod is a must. I also shot RAW and JPG files.

As you can tell by reviewing the image, that the image was created midday and yet, cloud movement is clearly visible. I was able to achieve this effect by using a Singh Ray 15-stop Mor Slo filter. (To receive a 10% discount, please use our discount code: ROADRUNNER10). The 15-stop Mor Slo is a great filter that will allow the photographer to create long exposures in the middle of day. The Singh Ray filters are so well made that they do not add color cast or distortion to the images. (Tip: buy 77mm filters and then a set of step-up rings, this way, one filter can be used on all your lenses).

Once the camera was in place, I triggered the shutter and waited. One thing to consider, when shooting time lapse images, consider bringing a second camera body along, as the wait can be quite dull with nothing to do. This may explain why I shot 37 images and not 100.

Post-Processing

As noted above, I shot both RAW and JPG files. I did this so that should I chose to process a single image, I would have the RAW file and for the time lapse image I could use the JPG files, which are smaller and easier to manage when blending so many layers. I organize my files using Lightroom and process my images in Photoshop. So after my trip, I imported my images into my Lightroom catalog (for a video on how to do this, click here). I selected the images that I intended to combine (a total of 37 images) and then opened the images, as Layers in Photoshop. From Lightroom, this is a simple Right click on the selected image thumbnails, Edit in, scroll to the bottom of the list and choose As Layers in Photoshop.

It takes Photoshop a few minutes to open and add each layer to a single tab, once it is complete, you can start changing the Blending Modes for each layer. At this point, take a moment to check the file size. In this case, my file size was just under 3GB. This is a huge file and I only used the JPGs! Now, I can start changing the Blending Mode for each individual layer (except the bottom layer) to Lighten. This allows the lighter pixels to come through from the layer below. As each of the 36 layers are changed, you will see staccato effect in the clouds start to appear.

Once all of the Blending Modes are adjusted, you have to decide if you are ready to flatten the image and start processing. I suggest that first you create a “stamp” of the image. Essentially, a “stamp” is a flattened version, that can be created as a separate layer (while maintaining all of the original layers below it) or by having all of the original layers merged together. I suggest that you use the “separate layer” method, so that you can check the result. You can always decide after to remove the original individual layers to reduce the overall file size. To create the separate layer, select all of the individual layers (all 37 in this case), and then right click, and while holding the ALT/Option key, choose Merge Visible. Photoshop will do some work and create a Layer 1, that sits at the top of the Layer Panel. If the result is what you were expecting, then you can select all of the original layers again and delete. This will bring the overall file size down to something manageable and pick up the operating speed of Photoshop, as you start to process the image.

At this point, how you process your image is up to you. I darkened the sky, enhanced the power plant, and darkened the foreground with Camera Raw. I then desaturated and slightly toned the image. I did some selective dodging and burning to further enhance the clouds and smoke. Lastly, I added a vignette.

To see a video on how I blended and processed my 37 images, click here.

For additional tutorials on how to post-process images, click here.

Playing With Ice

Although winter is steadily coming to an end, ice may have a place in your future! Here is a fun idea to try out at home, maybe on a warm summer day to keep you cool while you practice some macro photography.

Start by taking a plastic container or a clear Pyrex cooking dish, filing it with water and submerging flowers, either silk or real). Put this in the freezer the night before you need it and let it set up. You do not want to freeze it too early, as the ice could turn weird on you.

Next day, take it out and out it in a large aluminum baking dish, or something similar.

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Start shooting away. You might be intrigued by the results… soft, hints of subject matter.

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Be creative… you don’t need to stop at the ice… use textures and borders to highlight your image!

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The possibilities are limitless! Let your creative juices flow!

Texture Tutorial!

Today’s blog is a tutorial on the use of textures. Often we see texture added to images of flowers or landscapes with bland skies. Although these types of images are awesome for texture use, for this tutorial, I will demonstrate how a texture can also add character to portraits. I will be using an image I took for a newly engaged couple.

In this tutorial I will also be featuring Joel Olives textures. Joel creates his beautiful textures, overlays, and bokeh overlays monthly. I joined Joel’s Texture Club in February and over the past 7 months, I have received hundreds of incredible textures. Joel also shares his methods and provides a blending action on his site as well. If you are interested in Joel’s textures, follow the link and use DENISE20, to receive a 20% discount on your purchase!

joelolives.com

Here is a sampling!

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Because they are high resolution, they can be used to enhance any image without worrying about pixilation or degradation.

At first blush, the thought of incorporating textures may be overwhelming, particularly with so many options. But actually, it is pretty easy and once you get the hang of it, it can be done in minutes. The tutorial will seem long, but that is because it includes loads of images (so you know where to look for things), as well as multiple techniques on how to achieve different types of blending effects. In the end, this tutorial will provide you with a step by step process to get your creative juices flowing.

So let’s get to it!

First, start by opening your image and making any adjustments you may feel are necessary (brightness, contrast, saturation, etc). For the image I selected, I needed to make sure the doorframe was straight and I corrected any lights/darks, as well as enhanced her beautiful eyes. Now that my image is ready, its time to add a texture.

 

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There are a number of ways to add a texture to an image. I will show you the two ways I use most often.

1) File/Place/Select File/Place
This technique will bring the image in as a new layer and already have the transform feature activated so you can scale it to fit the background layer. When scaling the texture layer, you may decide to scale one for one (to fit exactly on the background) or you may decide that you want it to be bigger than the background. This may be the case, when you have selected a texture you really like, but for a particular image, the edges are too dark.

2) Open the texture as its own image, the select the move tool (V).
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In the texture layer, left click on the texture image and drag to the image you are working on. Before unclicking, hold the shift key. This will drop the layer in a new layer and scale it to the background directly. Should you wish to change the scaling, as noted in #1, just choose Edit/Free Transform ( T or Ctrl T – PC). This will allow you to scale the layer (texture) to your liking.

For this image, I selected jo-tc-aug-2013-13 from Joel Olives August 2013 Textures.

To get the image in to my working file, I chose option #1 from above.

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For me, the texture opens in to Camera Raw. This gives allows me to make changes to the texture prior to inserting it in to my working file. For this texture, I added a little Clarity and Vibrance, then I hit ok.

As you can see, the texture definitely needs some scaling! The great thing about Joel Olive textures is that they are high resolution, so scaling this texture to fit my image will not degrade the texture (and therefore, will not degrade my image) at all.

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To rotate just the texture layer, select Edit/Transform/Rotate 90°CW.

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Next drag your corners out until the meet the edge of your background images. The texture will lock in. If you wish, you can also drag the end texture layer out further. For this particular image and this texture, I like the dark edges with the leaf pattern, so I am sticking with a one to one ratio.

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There are a couple of ways to blend in a texture.
1) Manipulate the Opacity slider
2) Use Blending Mode

Screen Shot 2013-08-02 at 7.18.04 PMHere is the result using #1 (Opacity slider) – This result is not very pleasing and to truly see your background image the opacity of the texture would have to be so low, as to not even feel like a texture.

To make this technique work, you would need to add a Layer Mask and then mask the texture out of areas, such as her face and arms. Using a Layer Mask for this can be difficult and requires multiple brushes, at various opacities, often leaving a “hard” edge. Using the Blending modes and the techniques discussed below will give a more subtle and even feel to the texture.

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Here is the result using #2 (Blending layers) – This result is miles ahead of just using the Opacity slider. You can use a number of Blending modes to achieve the result you are seeking (Overlay, Soft Light, Screen for a lightened effect, even Multiply for a dark edgy feeling).

 

 

 

For this tutorial, I chose Soft Light.

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Next you can soften the effect of the texture by changing the opacity. I changed the texture layers opacity from 100% to 75%. As you can see, the background image is more prominent, but I have lost those beautiful eyes and her skin looks dirty and uneven from the texture. We are going to fix that next!

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Once the texture is in place, you can manipulate it using Layer Adjustments.

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You can use any adjustment from the Layer Adjustments menu (Brightness/Contrast, Hue/Saturation, Levels, Curves, etc). These adjustments are personal preference and based on the image to which the texture is being added.

For this image, I chose to make a Levels adjustment, to slightly darken the texture layer.

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In order to have my Layer Adjustment only impact the texture layer, I must associate the adjustment to the texture directly, as indicated by the downward-pointing arrow on the adjustment layer. To link layers (this technique links any layers/adjustments) hold the Alt or Option (PC) and however over the layer you want to link (in this case, the Level Adjustment). You will see a downward-pointing arrow appear, left click your mouse and the adjustment will be attached. To remove, just repeat these steps.

 

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If you do not link your adjustment to the texture, the adjustment will after both the texture and any layers beneath. This might be what you want, but if not, the linking technique will be your solution.

At this point, there is a decision to make.

Do you want the subject matter (in this case the face, eyes, and skin) to retain the some texture or no texture at all. Depending on your preference and the image to which you are adding a texture, there is different method for each.

First we will see the technique that retains some texture…

Start by hiding the adjustment layer (click on the eye), then select the texture layer and change the blending back to Normal and increase the opacity back to 100% (all temporary).

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Now, choose the Color Picker tool.

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With the color picker, left click on the texture, looking for a medium tone.

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This color/tone will become the Foreground color.

 

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Once you have made this selection, change the texture Blending mode back to Soft Light, the opacity back to 75% and click the eye on the adjustment layer.

Select the Brush tool (B). Use a soft edged brush and set the Brush opacity to an opacity that is pleasing. For this image, I chose 70%.

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Left click on the texture and then with the brush tool, paint over the areas of the texture that you want the background image to be more prominent (show through).

Since we “placed” the texture, when you go to paint, you will get the following message.

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Just select OK and then begin painting.

 

 

 

 

 

For this tutorial, I have “lessened” not removed the texture from her face, eyes, hair, and left arm. To show the difference, I have not removed the texture from her right hand. However, were I to “finish” this image with the option, I would have likely lessened the texture in her right arm as well. You can still see some texture on her fact and left arm, however it is not as intense.

 

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Next lets look at the technique to remove the texture from her altogether, while leaving the underlying tone of the texture behind.

For this technique, you will need to create a New Photoshop file. You will only use this temporarily, so there is no need to Save it.

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After you hit OK, you will get a White background layer. First thing we need to do is Fill it with color (any color). To do this, select Edit/Fill and under Contents Use: choose Color. The color picker tool will come up, pick a color and choose OK. Then choose OK to fill.

 

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Next choose the Healing Brush Tool.

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Now, holding the ALT or Option (PC) key down, click anywhere on the color image. Your brush will change to the sampling tool.

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This “loads” the Healing Brush.

 

Once you have completed this step, return to your working image. Make sure the Healing Brush is still selected and click on the texture layer.

Start brushing out the texture (even though the brush is a color). It will look like you are coloring on your image, but you are not. I promise, just keeping brushing, stopping every so often (for larger images) to let the Healing Brush process. Remember, you are not painting with this brush.

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Here is a close up of the process. Here I am about halfway done. You can see that her skin tone and his are the same, but the texture is completely gone. You may see that the Healing Brush leaves some color… no fear, just brush over the area again and it will disappear.

 

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Now for the final image (I am sticking with the “no texture” option).

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Remember, every choice I made in this tutorial, was just that a choice. There are many ways to incorporate textures in to your images… let your imagination guide you. 🙂

Masks, Layers, Blending Images…

Do you have thousands of images hidden away on multiple external hard drives? Have you edited and shared the ones you loved the most? What about the others? What are all those little pixels doing, besides taking up space?

Well, here is an idea… use pieces and parts of those images to make an entirely unique image! That’s right… compositing images together to create something uniquely you.

This image was created using images from Iceland, Death Valley, Oregon, and DC. There are 10 unique images in this composites… well some part of 10 unique images. In each and every case, I had a friend standing right near me, shooting the same scene. But this image, this composite is uniquely my vision. Sure I shared images from each of those trips, but this work is a creation of my imagination and there will never be another like it, even if I tried to do it again, it would be different (different settings and adjustment layers, different mood).

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This image is a combination of 9 images; from Seattle, to the Palouse, WV, Iceland, and the Shenandoah. Because each image was its own full size raw file, the level of detail in each component of the composite is clear and can be explored for its detail. For example, the lady driving the car; dive in and check out the schmirk on her face!

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The possibilities are endless. Also, the pixels hidden away on those drives now have a totally new purpose!

Compositing takes practice and patience. In and of itself, it is actually not that difficult to do once you learn the techniques to separate parts and pieces of images and how to blend them together. You have to have Photoshop (Elements or higher) to composite, because you need to be able to use layers and masks.

If you are intrigued by the idea of compositing images or blending textures with your images, then you might want to join me for a couple of workshops. You can register for these workshops, and my Introduction to Lightroom workshop on the Road Runner Photoshop Tours Meetup.

Learn to use Photoshop layers and masks. There are so many ways to select and mask, each one has its upside and downside… learn how to decide which is best for your needs in my Introduction to Photoshop – Layers, Masks, and More. This workshop will be held on Saturday, Feb 28, 2015.

Learn to blend textures, as well as images (compositing). This workshop will focus on blending techniques. Workshop on Textures and Blending Techniques. This workshop will be held on Saturday, March 21, 2015.

The combination of the Photoshop workshop and the Texture/Blending workshop, will give you all the skills you need to take your art to the next level of creativity.

Working a Subject

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I have heard a lot online recently about revisiting old locations. It’s great advice and something I encourage everyone to follow.

The shot above is of the Air Force Memorial in Arlington, VA, located just south of the Pentagon. So what could possibly change by revisiting a subject multiple times? Your perspective for starters. I know when I revisit a location I typically see things differently than before. Sure I see some of the same things I have seen before as well, but the clouds and the light could possibly be different. Especially if you go during different times of the day or different times of the year.

Small differences can sometimes make meaningful differences in how you see or interpret a subject. It’s ok to go with preconceived notions of what you want to shoot but don’t let yourself be limited by such thinking. Just be open to what is in front of you and don’t forget to look behind you either.

Of course this is an HDR image.  Photomatix is my favorite tool for creating HDR images.  It is available as a free download and is fully functional for 30 days.  If you decide to purchase use the discount code “RRPT” for a 15% discount.

Creating Custom Borders!

Create Custom Borders

One of my favorite things about processing iPhone images (on my phone) is that I can easily add “frames” to images, through a variety of photo processing apps, such Snapseed or Camera+. I have often thought that it would be cool to be able to something similar with images taken with my big-kid camera… and here is how you do it!

In just a few steps, you can create a custom border for any image, in any color or width you desire.

Here we go…

Step 1

Select your image. Process it to get what you consider a final result. In this case, I have chosen a panoramic image of the Great Smokey Mountains at sunset. I have collapsed my image, so it is “Background.”

 

 

 

 

 

Step 2

Select the Rectangular Marquee tool (M) or choose from the toolbar. Click and drag diagonally, from the top left of the image, to the bottom right corner of the image, to create an inside margin area, sized to your preference.

 

I have chosen about ¾ inch.

Next with your selection active (on your Background layer), chose Refine Edge, in the Options Bar.

 

 

 

 

 

 

This pops up the Refine Edge menu table.

Choose On White from the View Mode dropdown. Then in Edge Detection select Smart Radius and bump the slider to approximately 100% or a size that is pleasing. In Adjust Edge, play with the sliders for Smooth, Feather, Contrast, and Shift Edge, until you find a result that works best with the image. In the Output area, select Layer Mask. Hit ok.

 

 

This will create a mask around your image that “erases” the pixels on the outside of the margin you selected, while not harming your underlying image. The layer name changes from Background to Layer 0 automatically.

 

Step 3

 

Create the frame or matte layer. This can be any color you wish. I generally start with white and then reopen the color pallet and experiment. To create this layer, create a New Adjustment Layer (half black/half white circle icon).

 

 

 

 

 

 

 

 

 

 

 

Select Solid Color, and chose white or whatever color you prefer.

 

 

 

 

 

 

 

 

 

Click OK.

Now you have created a Color Fill Layer. Drag the Color Fill Layer, so that it is below Layer 0.

 

 

 

 

 

 

 

 

 

 

At this point, you can still manipulate the layer mask, by selecting the mask on Layer 0 and continuing to manipulate its density and feathering the its Properties Menu.

 

 

 

 

 

 

 

 

 

 

 

Don’t forget to save your image!

 

 

 

 

The coolest thing about this technique is that it will create a unique frame for each image to which it is applied, as it is creating the edge based on the contrast and color it identifies when refining the edge. So the possibilities are endless.

For a demonstration of this technique, click here for our video tutorial.

 

Fading an Image – Gradient Masks

Below I will describe the few steps needed to create both color fade and fade to solid color effects in Photoshop.

Let’s start with the color fade:

Step 1:

Open your image. In this example, I have an image of wisteria flowers. I have processed this image to my liking, so I consider it “done” and a good starting point for my color fade effect. So, your first step is to process your original image to achieve your overall “color” result.

 

 

 

 

 

 

 

 

 

 

Step 2:

Create a New Adjustment Layer by clicking the half black/half white icon at the bottom of the Layers panel. From the pop-up menu, select Black and White. Proceed to adjust the sliders to create an image that you like.

 

 

 

 

 

 

 

 

 

 

 

Step 3:

Select the Gradient tool. You can do this by either clicking the letter “G” on your keyboard, or clicking on the tool button, or choosing Gradient Map in the Adjustments Panel.

 

Once the tool is selected, in the Options bar (top of Photoshop workspace), click the Gradient Picker (dropdown that has shading) and choose the Black/White gradient. Lastly, to the right of the Gradient Picker, click on the Linear Gradient icon.

 

 

 

 

Step 4:

With the Gradient tool selected, hold Shift and click and drag the tool’s crosshair from left to right (or right to left) depending on your preference. You will see a temporary guideline appear (if you are holding shift, then the line will be held horizontal creating a vertical mask). The gradient mask will appear automatically when you unclick. You can re-draw the line as many times as you like to experiment with the depth of fade and the mask will update automatically. You can also fade top to bottom or bottom to top, depending on your preferences and the image in question.

 

Don’t forget to save your final image!

 

 

 

 

 

 

 

 

 

You can also use this technique to fade to a solid color, such as white, to create a customized postcard:

Same as Step 1 above

Step 2:

Instead of selecting Black and White, choose Solid Color from the New Adjustment Layer menu. Photoshop will open up a “color picking” dialogue box, select the color of your choice and click OK. A colored layer will appear and you will no longer see your image. No worries.

 

Step 3:

Select the Gradient tool, same as Step 3 above.

Step 4:

Make sure the Color Fill layer is active, then click near the middle of the color layer and drag the crosshair while holding the shift key (left or right) about 1” to start. You can experiment until you get the proper width for your needs.

Step 5:

If you need to move your image around, so that you can see the content you want, just double click the Background Layer in the Layers panel, rename it to Layer 0, click OK (this makes it editable). Then choose the Move tool (V), or click the icon in the toolbar. With the Move tool, you can drag the image around until the content you want to show is seen. Click enter to accept the move change.

 

 

 

 

 

Step 6:

Add text. To do this, click the Text tool from the toolbar. Click within the image on the workspace and add text. You can manipulate the font characteristics to your liking, as well as move the text box around to suit your needs.

 

Don’t forget to save your image!

Happy Creating!!

Get Creative!

In an earlier blog I discussed being creative through the use of alternative lens or through HDR image processing, but there are other ways to be creative as well. Below are some of examples of how using Gradient Masks and Brushes in Photoshop can add character and uniqueness to an otherwise “ordinary” image. I will start with photography is wildly subjective, so not everyone will prefer my creative efforts over the original image, but my goal here is to get your juices flowing!

The first two examples show the use of gradient masks:

Here is an image of the Lincoln Memorial in Washington DC. This is the first time I have captured the memorial from this angle and closeness, and I like the image. But I have hundreds of images of the Lincoln Memorial, so how do I make this one different? In this case, I decided to reflect the image back on itself, as if the memorial stood close to a body of water.

 

To learn this technique, check out our video tutorial on YouTube: Creating Reflections.

In this next image, I decided that a transit from black/white to color might be an interesting effect, giving motion to an otherwise still image.

 

 

 

This technique will be described in our next blog!

This last example shows the use of brushes and texture to create a painterly effect. As you can see, this first image is really dull; albeit a beautiful flower, but taken against a dull green paper (with a fold! in it). No movement, no context. Since I really liked the tulip, I needed a way to improve this image. I decided to create a watercolor out of it, through the use of texture and brushes.

 

 

These are just a few examples of the power of gradient masks, brushes, and textures. In my next few blogs, I will demonstrate the easy steps to create the color fade effect, fade to solid color, and reflection effects. Think of the possibilities; these techniques can be used to manipulate images, create customized announcements or Christmas cards that include images that fade to text, and as well as create composite (collage) images.

The painterly effect demonstrated in the image above is too complicated to describe in a suitable length blog, so if you are interested in this technique, I am happy to teach you how to do it and other Photoshop techniques in a customized workshop. For more information on our image processing workshops, click here.

 

TopazLabs Glow!

Topaz Labs announces a new program – GLOW!

This program is so creative! With over 70 unconventional filters, Glow can electrify your images in so many imaginative ways; from neon effects to added detail with graphic lines. The product has that same user-friendly feel as the other TopazLab products you know and love.

From Dec 9 through Dec 31, TopazLabs is running a promotion on this new innovative editor. To take advantage of the introductory price of just $49.99 (regularly $69.99), use coupon code: INTROGLOW, when checking out.

This program is great for all types of photography as well, from macro to wide angle, nature to urban decay. With so many filter alternatives, each one fully customizable, there is no limit to this program’s application. The program can be used as as a plugin, or as a stand-alone editor. Which means you do need to own a host program such as Lightroom or Photoshop to use this application.

System Requirements: Mac OSX 10.8+ or Windows 7/8 x 64bit + OpenGL 2.1

Here are some images enhanced with Glow!

 

To learn more about Glow, purchase, or start a free trial, click below: