The post 6 Times Photoshop Is Better Than Lightroom [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Lightroom is a fantastic editing program, but should you use it for every edit? Or is Photoshop sometimes the better choice?
In the video below, landscape photographer Mark Denney tackles these questions head-on. Denney explains how he incorporates Photoshop into his own workflow, and he lists the six times he always turns to Photoshop over Lightroom.
So if you’re wondering whether Photoshop is really necessary, I highly recommend you hear what Denney has to say. And when you’re done, leave a comment on this article letting us know whether you agree or disagree with Denney’s recommendations!
The post 6 Times Photoshop Is Better Than Lightroom [Video] appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post How to Make a Photoshop Collage (in 9 Simple Steps) appeared first on Digital Photography School. It was authored by Natalia Robert.
Looking to make a collage in Photoshop? You’ve come to the right place.
In this article, I’m going to give you an easy, step-by-step process for creating a stunning collage – one that looks like this:
(It’s a perfect way to share photos from an event, a real-estate shoot, or even a family photo session!)
Let’s get started.
Step 1: Choose your collage photos
Before you actually create the collage, you’ll need to pick your collage photos – and you’ll need to do this carefully.
I recommend selecting images connected by a theme (such as a location, an event, or even a concept). Include a mix of subjects at different scales; for instance, pick some wide shots that show the entire scene, as well as some detail photos that show lots of texture and personality. Without one or the other, the story won’t be complete. And it won’t carry the level of emotion that you’re after.
Speaking of storytelling: It often does help to focus on the story you’re trying to tell. Do you want to offer a narrative surrounding an event? Do you want to clearly convey a meaningful concept? Make sure to take this into account when picking photos!
One more tip: If possible, include at least three photos and no more than eight. Too few photos, and you won’t be able to tell the full story. Too many photos, and you’ll confuse the viewer with clutter (plus, it’ll be tough to show off individual details).
Step 2: Open the selected images in Photoshop
Once you’ve picked your photos, open them all in Photoshop.
To do this, you can drag and drop files directly onto the document window, or you can select File>Open and click on the relevant images.
You should see the photos as separate tabs in the document window, like this:
Step 3: Create a new file for your Photoshop collage
Every Photoshop collage needs a background file where all the images will eventually be assembled.
While you can use an old collage template, if you’re making your first-ever collage, you’ll need to create a new document.
So select File>New in the Menu bar (or tap Ctrl/Cmd+N):
A New Document window should pop up, and you’ll need to dial in your file preferences.
The specifics will depend on what you plan to do with the collage as well as the sizes of your chosen photos. If you’re working with big JPEGs and you aim to print, you should probably pick a 5000+ pixel width and height. If you want to display your collage on a standard web page, however, a 1500 pixel width and height will do just fine (though you can always start big and resize later, as discussed in Step 8 below).
(I do recommend you make the file size a bit larger than the size you want in the end; that way, you can do a final crop to deal with any arrangement issues.)
Step 3: Add your images one at a time
Head to your first open photo, then select it.
To do this, you can drag with the Marquee tool:
Or you can hit Ctrl/Cmd+A. You should see the marching ants around the border of your image:
Then choose Edit>Copy (or tap Ctrl/Cmd+C):
Finally, head over to the new document, then choose Edit>Paste (or tap Ctrl/Cmd+V):
This will add the photo to the blank document, but on its own layer.
Depending on the size and resolution of the new image, you may need to make some adjustments with Edit>Free Transform (or Ctrl/Cmd+T). For instance, my first photo was way too large:
So I used the Free Transform option to scale it down:
(Once you’ve activated Free Transform, simply drag the edge nodes until you get the result you’re after. You want an image that’s small enough to be comfortably moved around the canvas.)
Then repeat the above instructions for all the remaining collage photos.
Step 4: Arrange your photos
After you’ve added all the collage photos to your document, it’s time to do some arranging. This is where you shift the photos around until they tell your story.
After doing several collages, you’ll start to discover your preferred style; personally, I like to create symmetrical layouts as well as interlocking puzzles. But each story does have slightly different needs, so don’t be afraid to experiment!
To adjust the photo positions, you can select the Move tool (or tap V):
Then drag around all the images until you get a good result. If you’d like to resize any photos, use the Free Transform option discussed above.
With my pet collage example, I first tried a more symmetrical arrangement:
But I settled on a puzzle-type composition:
Step 5: Add image spacing
Once you’ve determined the layout and you’ve sized all the images, I recommend giving the design some space. It’s personal preference, but the effect is generally nice.
In other words, instead of a collage like this:
You want one like this:
It’s pretty easy to do; you simply create a thin, white border between the images. You can select each photo, then use the mouse or arrow keys to drag until you see white space. Or you can double-click on each image in the Layers panel:
This will open the Layer Style menu, where you can select the Stroke option:
Make sure the Position is set to Inside, theBlend Mode is set to Normal, and the color is set to White:
Then increase the Size until you see a nice border appearing around your images.
Unfortunately, this will crop the images somewhat – but depending on the look you like, it might be worth it.
Step 6: Merge all layers
At this point, you should have your collage laid out with perfect photo spacing.
Which means you’re ready to merge all the layers.
Simply select Layer>Merge Visible (or tap Ctrl/Cmd+Shift+E):
And the layers will merge into a single beautiful Photoshop collage!
Step 7: Crop the final image
Before you resize and export your collage, I recommend cropping any extra white space around the edges (you want the design to look even).
Just hit C or select the Crop tool:
Then drag at the edges of the photo to get rid of any unwanted areas:
Step 8: Resize
This step depends on your goals for the collage. If you want to print, you’ll need to resize based on printing requirements (which will generally involve leaving the image pretty large). If you want to post your collage on Facebook, Instagram, or Pinterest, however, consider sizing down to a maximum of 1500 pixels on the long end.
So select Image>Image Size (or tap Alt/Opt+Ctrl/Cmd+I):
Then dial in your preferred width and height.
Step 9: Save and export your collage
Last but not least:
Save and export!
You’ll want to select File>Save As:
Then choose a location and file name, make sure that Save as type is set to JPEG, and hit Save:
And select your preferred image quality (I usually go for around 8):
And you’re done! Photoshop will save your collage in the specified location.
How to make a Photoshop collage: final words
Well, there you have it:
A simple process for creating a collage in Photoshop. It’s bound to look great, so don’t be shy; share it all over your social media pages!
Now over to you:
Have you made any collages previously? Have any additional tips? Please share your advice (and collage photos!) in the comments below.
The post How to Make a Photoshop Collage (in 9 Simple Steps) appeared first on Digital Photography School. It was authored by Natalia Robert.
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
What’s the easiest way to batch resize in Photoshop?
In this article, I’m going to take you through a simple, step-by-step process for resizing your images. It’ll take seconds – and when you’re done, you’ll be able to resize dozens (or hundreds!) of photos at once.
Let’s get started.
Batch resizing in Photoshop: step by step
Batch resizing isn’t hard, and it takes very little knowledge.
To start, make sure you open some files in Photoshop (though note that you don’t need to open all the files you’re aiming to resize; a random file or an empty canvas will do just fine). As you can see below, I’ve opened a blank document:
I’m going to cover the Image Processor method of batch resizing. Pretty much anyone can do it, and it generally works well. However, if you have more complex batch resizing requirements, consider writing an action; that way, you can tailor the resizing to your particular needs.
Now let’s take a closer look at the batch resizing process, starting with:
Step 1: Open the Image Processor
Choose File>Scripts>Image Processor.
The Image Processor dialog box will open, where you’ll see a simple, four-step process for resizing your images:
Step 2: Select your images for batch resizing
In the first section of the Image Processor dialog box, you’ll need to identify the images you want to batch resize.
You can choose to resize all open images by selecting Use Open Images:
Or you can pick a folder from your hard drive via the Select Folder button:
If you do select a folder, you can tell Photoshop to resize images in all subfolders as well; just hit the Include All sub-folders checkbox:
Step 3: Determine your export location
Now it’s time to determine where you want your resized images to go.
To save the resized versions alongside the originals, simply select Save in Same Location:
Then, when the resizing begins, Photoshop will create a subfolder next to the original files. (Because your resized versions will retain the names of the original files, creating a subfolder – rather than simply saving the images in the original folder – prevents any overwriting.)
Alternatively, you can select a different folder for the resized files:
Step 4: Input your preferred image sizes
This is the most important step of the entire process:
The moment where you dial in resize settings for your files.
First, determine your output file type. You can choose from JPEG, PSD, and TIFF (JPEG is the default and generally works well, but if you’re working with layered files, then PSD is a good choice).
If you do decide to save JPEGs, you can adjust the output quality; 12 will give you large, great-looking photos, whereas 1 will give you tiny, low-quality results.
For better color when displaying your photos on the web, select Convert Profile to sRGB:
I also recommend checking the Include ICC Profile box at the bottom:
Finally, select Resize to Fit, and type in your preferred file size!
Note that the dimensions you dial in are maximums. So if you type in 300 for the width and 300 for the height, the files will be resized so that the longest side of every image is 300 pixels.
(In other words, the images won’t be cropped or skewed to fit your preferred dimensions; they’ll be scaled up or down for the most natural-looking results.)
Also note that the width and height measurements don’t have to be the same. You could specify a width of 400 and a height of 300 – then all images would be constrained to a width of 400 or a height of 300, whichever comes first.
By the way, you do have the option to save your images in a second (or third) format, as well. Just select the Save as PSD or Save as TIFF checkboxes, and PSD and/or TIFF folders will be created alongside your JPEG folder!
Step 5: Run the script
When you’re ready, click Run.
The images will be automatically opened (if they’re not open already), resized, saved, and closed again.
To find your resized images, simply head to the folder you specified in Step 3 (above). If you chose to save JPEGs, the images will be in a subfolder called JPEG; if you chose to save TIFFs, the images will be in a subfolder called TIFF, etc.
Like this:
How to batch resize in Photoshop: final words
Well, there you have it:
The easiest way to batch resize your images in Photoshop.
So whenever you need to resize a lot of images for uploading on the web, use the Photoshop Image Processor.
It makes the job quick and painless!
Now over to you:
Do you have a favorite method of batch resizing images in Photoshop? If so, share it in the comments below!
The post How to Batch Resize in Photoshop: A Step-by-Step Guide (2021) appeared first on Digital Photography School. It was authored by Helen Bradley.
The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Which is the better photo editor, Affinity Photo vs Photoshop CC?
Adobe Photoshop was released in 1988 and has become the most widely used digital image editing tool in the world. The program is so popular that its name has become a verb – and Photoshop is now the de facto standard for industry-leading professionals and amateurs alike.
Photoshop has also spawned a host of competitors, including Affinity Photo, a worthy alternative for anyone who wants a full-featured image editor without the expense of Photoshop. But is Affinity Photo now the superior choice? Or are you better off sticking with Adobe’s classic program?
In this article, I’m going to compare Photoshop and Affinity Photo. I’m going to give you the benefits and drawbacks of each program – and you’ll leave knowing which program is right for you.
Affinity Photo vs. Photoshop: overview
When considering Affinity Photo and Photoshop, it’s important to remember that there is no one single correct program for everyone. Both are highly capable photo editors, and either one will serve the needs of most photographers. They each have advantages and drawbacks, as well as very different pricing models, and both work well for many photographers.
So try not to think of this as a binary choice or even a competition. It’s not about which program is better, but which program suits your needs.
Before getting into the weeds of how these programs are different, it’s a good idea to take a look at how they are alike. This helps establish a sense of common ground, or perhaps a starting point, that will make the differences stand out.
Both Affinity Photo and Photoshop offer a layer-based workflow, meaning all edits are non-destructive and can be combined with other edits. Both include RAW converters, which allow you to open and manipulate the lossless file formats used by amateur and professional photographers around the world.
Affinity Photo opens RAW files and lets you manipulate the same properties and parameters as Adobe Camera RAW, the RAW editor used by Photoshop.
Affinity Photo and Photoshop both feature a dizzying array of tools to let you edit images any way you want. You can create detailed selections, use complex layer masking, warp and transform parts of your images, use dozens of filters and adjustments, go back to earlier edits with a history panel, insert and manipulate text…the list goes on.
Comparing the two programs, then, becomes less about looking at a bulleted list of features and more about value. Affinity is significantly cheaper with a one-time price of $ 50 USD. Adobe Photoshop is much more expensive and is available only as part of a Creative Cloud subscription, the cheapest of which is about $ 120/year. And while you certainly get a lot for that yearly fee, Affinity Photo is no slouch.
Photoshop is available as part of the Adobe CC Photography plan or for a standalone subscription. You can also find it bundled with other, more expensive plans, as well.
Affinity Photo doesn’t have the sheer quantity of features that Photoshop offers, but many of the tools in Photoshop aren’t used by a lot of amateur and semi-professional photographers, so it might not matter to you. For instance, Photoshop has tools for manipulating 3D objects and video, but if you just want to edit static 2D images, that probably isn’t important. Photoshop is also updated more frequently and has some interesting AI-based tools to alter faces and other image elements, but for some people, these aren’t worth the yearly fee.
User interface
Both programs follow a similar design language: tools on the left, options for customizing the selected tool on top, editing panels on the right, and a huge space in the middle of the screen for working on an image. Their tools share many core functions, as well. Both have tools for cropping, brushing, making selections, fixing blemishes, working with text and objects, and more.
The editing interface in Photoshop (shown here) is similar to the interface in Affinity Photo. They’re not identical, but they’re similar enough that if you’re familiar with one program, you can probably use the other.
The interface is not altogether dissimilar from Lightroom, Luminar, and other photography software. If you are new to Affinity Photo or Adobe Photoshop, it won’t take you long to figure out how to edit and where to find the tools and adjustments you need.
Adobe has a key advantage in terms of user interface design because it has built up so many tools and options over the years. But this is also its Achilles’ Heel and can be seen as a disadvantage, as well. Photoshop’s ever-expanding repertoire has resulted in a program with a staggering learning curve, and even simple options like changing the white balance on an image or refining a selection can lead to inordinate amounts of head-scratching and online searching.
Photoshop contains visual tooltips to help new users acclimate themselves to the buttons and options.
This has put Adobe in a bit of a tough spot – one that makes Affinity Photo seem quite attractive by comparison. Adobe must walk a fine line between catering to its professional customers, many of whom have been using Photoshop for years, and catering to new customers who find the growing feature set to be complicated and frustrating. Welcome screens, popups, tooltips, and other helpful hints stem the tide of confusion – but while these do help, it can still be difficult to locate the options you need to get your work done.
By contrast, the simplified nature of Affinity Photo seems downright pedestrian but remains quite powerful. Tools on the left are bright and colorful, and the adjustment panels on the right are a bit more streamlined for common use-case scenarios.
For example, adjusting the white balance is as simple as clicking the White Balance option and adjusting some sliders. In Photoshop there isn’t a White Balance option; you have to apply a Curves adjustment layer or use a filter to achieve the same effect.
Affinity Photo includes familiar adjustments like White Balance that are more complicated to implement in Photoshop.
This theme is prevalent throughout any comparison of Affinity Photo vs. Adobe Photoshop. Affinity Photo has a fresh, modern take on the interface elements that Photoshop invented. If you prefer a cleaner, simpler layout, then Affinity Photo might be the best option for you, but if you crave raw power and a slew of options, you might be better off with Photoshop.
It is worth noting that Affinity Photo also has a few tricks up its sleeve that Photoshop can’t yet match. Namely, speed: Adobe Photoshop is built on decades-old legacy code that makes some simple operations confoundingly slow. Tools like Liquify and even simple transformations are much snappier in Affinity Photo, and while Photoshop has made some great strides in recent years, there’s no denying that aspects of the program still feel slow and outdated.
Workflow tools
While both Affinity Photo and Adobe Photoshop have a huge number of editing tools, each program is at its best when you learn to use those tools to accomplish your work with minimal effort. Photoshop has a bit of an edge here if you want to make complicated, in-depth edits, but Affinity Photo is no slouch either.
For example, most of the items in Photoshop’s toolbar have sub-options with different variations on the same tool. There are three selection tools: Marquee, Lasso, and the Magic Wand. And each of those has its own subset of tools.
The tools in Photoshop are more comprehensive and contain a greater number of options and customizations compared to Affinity Photo.
From a workflow perspective, this bevy of options can be invaluable. You can get in, make your selections, and get on with your editing. And in that regard, Photoshop gets the nod over Affinity Photo. Once you learn all the options at your disposal and get familiar with the myriad keyboard shortcuts, Photoshop can dramatically cut your editing time. But getting to that point can take a lot of learning and a lot of patience, so some might prefer the relative simplicity – and fewer options – of Affinity Photo.
Both programs have all the standard adjustments you would expect: Brightness/Contrast, Exposure, Invert, and many others. These are applied using layers, and the layers can be blended using virtually the same sets of blend modes, including Darken, Multiply, Color Burn, Difference, Exclusion, Subtract, and so on. Layers can be moved up and down and combined in both programs, and both give you access to dozens of effects that can be applied, as well.
The Layer Effects panel in Photoshop contains many options for enhancing and editing your images, and it lets you customize the blend modes, as well.
The Layer Effects panel in Affinity Photo is similar but lacks the depth that Photoshop offers. Still, it should suffice for most people.
If you are thinking of transitioning away from Photoshop, there is one important thing to note:
While Affinity Photo does replicate many of the common keystrokes and shortcuts used in Photoshop, they’re not 1:1. You might find yourself pressing familiar keys and using shortcut commands out of habit only to realize that nothing happens, or worse, something happens that you didn’t intend. It can make the transition a bit rocky but might be worth it if it saves you time or money in the long run.
Compatibility
When you work with image editors, compatibility can be an issue. Photoshop’s PSD file format is the gold standard – but not necessarily because it’s the best, and certainly not because it’s the most efficient in terms of file size. Rather, after more than 30 years in this business, Photoshop’s PSDs have simply become the most widely used. PSD files are nondestructive, meaning they contain all the layers, history steps, adjustments, effects, and other elements of an image as it’s being edited.
Affinity Photo has a similar non-destructive file format, AFPHOTO. But as you might expect, it is not well known; it’s simply too new compared to the PSD format. While Affinity Photo can open PSD files and also export its own files in PSD format, Adobe Photoshop can’t do anything with AFPHOTO files. This can end up becoming a time-consuming hassle if you use Affinity Photo but find yourself collaborating or sharing files with Adobe Photoshop users (or vice versa).
Affinity Photo can export images in AFPHOTO (as well as nearly a dozen other formats). But Photoshop won’t open Affinity Photo documents and likely never will. Adobe has almost no incentive to do so.
It’s currently Adobe’s playground, and we have to play by their rules for the time being. Adobe doesn’t need to spend time and money making Photoshop compatible with Affinity Photo files, but Affinity needs to work with PSD files if it is to be relevant in the image-editing space. The old saying, “If you can’t beat ’em, join ’em” comes to mind.
So if you go with Affinity Photo because you like the price or appreciate its tools and features, just know your documents won’t always play nice with Photoshop.
Support
Learning any new tool takes time and effort, and this is doubly true for image editors. There are so many options and features in both Affinity Photo and Photoshop; it’s enough to make you want to give up and go with the one-click simplicity of a program like Luminar. Especially if you’re new to digital photography.
Just imagine trying to explain these Photoshop brush options to someone who has never used the program before.
When considering Affinity Photo vs. Photoshop, it’s important to take this into account and make sure you have access to the knowledge and training you need to get your editing done. While Photoshop has too many features to count, it also has over three decades of support behind it. The internet is jam-packed with every kind of Photoshop tutorial you can imagine: websites, forums, social media groups, YouTube tutorials, podcasts, classes, lectures, and Adobe’s own help files and rich knowledge base.
What’s more, since so many people use Photoshop, it’s not hard to find someone who can help you. Most friends, coworkers, and even casual acquaintances who use Photoshop will be happy to show you a few tricks or help you learn how to use the program.
I knew Photoshop could do a simple border with rounded corners, but I didn’t know the exact steps. A quick video call with my cousin, who uses Photoshop professionally, got me all the information I needed.
This is hardly the case with Affinity Photo. Affinity has its own set of video tutorials, as well as sample images you can import and experiment with to learn the basics. But while these are a good place to start, they’re just not at the same level as what you’ll find in Photoshop.
Tutorials will improve as more people use Affinity. But until then, you might find yourself frustrated when you can’t figure out more advanced features and aren’t able to find the help you need.
Editing and the cloud
As photo editing moves away from the desktop and into the cloud, it’s important that your tools can keep up with your workflow (and that you can adapt them as needed). Many photographers today want to edit images on tablets or even phones and have their pictures available whenever and wherever they want.
Thankfully, both Affinity Photo and Adobe Photoshop are up to the task, but they approach it in different ways.
Affinity Photo has an iPad app, available for a very reasonable fee, that mimics most of the functionality of the desktop version. It can’t do things like batch export, but it reads AFPHOTO files, and edits on the iPad are also available on the desktop version.
However, Affinity does not have a cloud-based infrastructure to support file syncing and storage. This means you have to transfer your images manually or sync them to a service like iCloud – then you must make sure all your files are properly synced again after you edit, lest you lose some of your changes.
Photoshop handles this differently, and it’s all due to the subscription fee you pay to use the program. Since every Photoshop plan comes with some degree of cloud storage from Adobe, it’s possible to have a cloud-based workflow where everything is stored remotely. This means you can load all your PSD files and other assets into your Adobe Creative Cloud storage, edit your images on desktop or mobile, and everything is automatically synced in real time.
Adobe gives you the option of storing files in the cloud; this is part of your Photoshop subscription.
Neither one of these approaches is necessarily better, but it’s important to determine which you prefer. Affinity Photo’s one-time pricing structure means it can’t support the ongoing costs of cloud servers for its customers. But if you already pay for cloud storage through another platform, then you might prefer Affinity’s approach.
On the other hand, Photoshop’s method is great for a lot of people, especially those who want a cloud-based workflow.
Affinity vs Photoshop: Which editing program is right for you?
At some point, you have to stop reading and just make a decision. There are definitely some good reasons to go with Affinity Photo, and there are some advantages to Photoshop. Here’s my advice if you’re on the fence and not sure which one is right for you:
Get Affinity Photo if you want an inexpensive, full-featured photo-editing program. While it doesn’t have decades of history in the photography community, it has an extensive list of features and workflow tools to suit the needs of almost anyone. Certainly, it’ll handle everything a casual or hobbyist photographer requires, and if you aren’t actively earning money with your images, then a one-time fee of $ 50 makes Affinity the better choice.
You can create some amazing artwork in Affinity Photo. And if you need inspiration, you can download sample images like this one (which are designed to help you learn the program).
Subscribe to Photoshop if you want a mile-wide set of features developed over several decades, as well as an endless supply of websites, articles, videos, books, and entire courses to help you learn how to use them. There are also many plugins you can get to extend the functionality of the core application; that way, you can tailor Photoshop’s capabilities to your needs. In terms of sheer product ecosystem, Photoshop is the clear winner.
While some have accused Adobe of resting on their laurels now that they have a steady stream of subscription income, that’s not really a fair criticism when it comes to their flagship product, Photoshop. Photoshop continues to add new options for demanding professionals while making the onboarding process easier for beginners. Adobe has also been incorporating artificial intelligence tricks such as allowing you to age (or de-age) human faces, alter smiles, and even change the direction that people are looking.
Adobe’s AI-based Neural Filters let you apply all sorts of strange, interesting adjustments such as changing expressions, smoothing skin, and aging (or de-aging) people.
The heart of the Affinity vs. Photoshop debate comes down to a simple question: What do you want to do to your photos? By identifying your needs first and then looking for a solution, you can be sure that the program you choose will more closely align with your requirements. It might be Affinity, it might be Photoshop, or it could even be something else.
Both Affinity Photo and Adobe Photoshop have free trials, and I recommend going that route before spending any money or getting too invested in one particular application. Download both products, try them, and see what you think. Then you can decide the Affinity Photo vs. Photoshop question for yourself.
Now over to you:
Have youused Affinity Photo and Photoshop? Which program did you prefer? Share your thoughts in the comments below!
The post Affinity Photo vs Photoshop: Which Photo Editor Is Best in 2021? appeared first on Digital Photography School. It was authored by Simon Ringsmuth.
Ansel Adams once said, “you don’t take a photograph, you make it.” Fortunately, with tools like Adobe Photoshop and Lightroom, producing that perfect image is a much less daunting task nowadays. Still, it can be hard to keep up with all the updates and changes. Have you ever fallen in love with a preset that you want to use in Continue Reading Photodoto
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The post How to Create a Glitch Effect in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Megan Kennedy.
Ever wondered how to create a glitch effect in Photoshop?
That’s what this article is all about.
While glitch art embraces technological mishaps, there are simple ways to introduce a glitch art effect in Photoshop.
And in this article, we’ll take a look at how to get glitchy with a quick-and-easy Photoshop process!
Let’s get started.
What is a Photoshop glitch effect?
Glitches are visual or sonic flaws that are inherent in our digital landscape. Glitch art is made by deliberately capturing these organic glitches, manually corrupting digital media, or physically manipulating electronic devices to cultivate glitched imagery.
Instantly recognizable yet difficult to produce, the glitch aesthetic has fascinated many, with innovative artists harnessing glitches to create unique artworks that explore the fabric of our digital world.
Rewiring Kodak DC series digital cameras to create evocative auroras, Phillip Stearns subverts the nature of digital photography. Art theorist, curator, and visual artist Rosa Menkman also investigates glitch art in the form of video compression and feedback. On her website, Menkman says, “A glitch can be understood as a technological failure, but also as a space for artistic creation.”
A glitch that occurred as the result of a CF card malfunction.
Glitches are unstable in themselves, so they’re difficult to anticipate and capture successfully.
But different techniques have emerged to mimic a glitch aesthetic and create evocative, glitchy effects. A Photoshop glitch effect is a way to simulate the glitch aesthetic without the traditional corruption of data.
When should you use a glitch effect?
Glitch art is a visual manifestation of our modern technological climate. Glitches can seem both futuristic and retro, abstract or figurative – but like many art forms, they can also take time to cultivate.
Although creating a glitch effect in Photoshop isn’t an organic source of glitch artistry, the process can be easier to manipulate and control.
So if you’re looking to create glitchy imagery but don’t have the time, equipment, or know-how to wrangle a glitch in the wild, applying a glitchy effect in Photoshop can be a way to explore the unique potential of glitchy aesthetics.
Now let’s take a closer look at how you can actually create a Photoshop glitch effect:
How to create a glitch effect in Photoshop: step by step
To get started, first select an image and open it in Photoshop.
For this project, just about any image will do. I recommend using an image with some variation in color, but you can try a portrait, a landscape, an object study, or something else entirely.
Here’s my starter image:
Canon 5D Mark II | Canon 24-105mm f/4L IS USM | f/4 | 1/4000s | ISO 100
Step 1: Start with the Channels panel
To work non-destructively, first right-click on your chosen image in the Layers panel and select Duplicate Layer.
In the pop-up window, rename the layer Glitch and click OK.
To apply our glitch effect, we need to work in the Channels panel.
So with the Glitch layer selected, click the Channels tab or go Window>Channels.
Once the Channels panel is open, you’ll see four channels:
RBG, Red, Green, and Blue.
Click on the Red channel to select it. Then, with the Red channel highlighted, select the Filter dropdown menu from the topmost Photoshop toolbar and select Distort>Wave.
In the Waves window, you’ll need to make a few adjustments. The screenshot below shows the settings I generally stick to, but a bit of experimentation can be a good idea, too.
Once you’ve picked your settings, click the Randomize button until you get an interesting preview.
Then select OK.
Next, select either the Blue or Green channel in the Channels panel.
Again, select Filter>Distort>Wave. Your previous settings should be saved in the current Wave window, so just click Randomize a few times and then click OK.
Click on the RGB channel, and you’ll have an effect similar to this:
Step 2: Add a filter
First, return to the Layers panel by clicking on the Layers tab.
Right-click on the Glitch layer and select Duplicate Layer. In the pop-up window, name this duplicate layer Filter, then select OK.
Make sure your color swatches are set to the default (black foreground and white background) or press the “D” key. With the Filter layer selected, go to Filter on the topmost toolbar and then Filter Gallery.
In the Filter Gallery, you have a couple of options to choose from. The Grain filter (under the Texture heading) adds a grainy effect to an image. For glitchy projects, I usually set the Intensity slider here to around 90, the Contrast slider to 50, and the Grain Type drop-down menu to Regular.
Reticulation (under the Sketch heading) can add an eye-catching density to the overall image.
For that filter, I often set the Density slider to around 10-12, the Foreground Level slider to 40, and the Background Level to no more than 10.
The Halftone Pattern filter (also under the Sketch heading) will add vertical lines to an image so it looks like an old TV broadcast.
Adjust the settings for the Halftone Pattern so that the Pattern Type dropdown menu is set to Line. Dial the Size slider to 3 or 4 and set the Contrast slider to 1 or 2.
Results after applying the Halftone filter.
Film Grain (under the Artistic heading), Texturizer (under the Texture heading), and even Graphic Pen (under the Sketch heading) are also useful filters to experiment with; they’ll add texture and the impression of digital deterioration.
Once you have a filter selected and set, click OK.
Step 3: Select the right blend mode
The next step in how to create a glitch effect in Photoshop is to work with blend modes.
Once your filter is applied, select the Filter layer again and choose a suitable blending mode from the Blending Mode drop-down menu located in the Layers panel.
Different blend modes work differently depending on the image, so don’t be afraid to experiment.
For the image below, I used the Halftone filter combined with the Luminosity blending mode.
Step 4: Add finishing touches
After applying the filter and a blending mode, your image might look a little bland.
So create a Vibrance adjustment layer in the Adjustments panel and give the Vibrance slider a boost.
If the image is still a bit dull, boost the color saturation with the Saturation slider. You can also make adjustments using a Curves layer.
Here’s my final image:
The finished result after a boost in saturation and vibrance.
How to create a glitch effect in Photoshop: conclusion
And that’s it! You should now be well equipped to create a beautiful glitch effect in Photoshop.
And though it doesn’t technically create glitch art, this method is an interesting way of presenting digital photographs that remind us about the unique potential and inherent fragility of our technological landscape.
Now over to you:
What subject are you going to use with the glitch effect? Share your glitchy photos in the comments below!
The post How to Create a Glitch Effect in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post How to Remove Wrinkles From Clothes in Photoshop (Fast and Effectively) appeared first on Digital Photography School. It was authored by Ana Mireles.
Did you know that you can easily remove wrinkles from clothes in Photoshop?
Wrinkled clothing is one of those details that gets easily overlooked. You just don’t notice them until you get back home, open your image, and see a big, ugly wrinkle ruining your photo.
Fortunately, there are several simple ways to get rid of those wrinkles and keep clothing looking as good as new!
And in this article, I’ll show you the techniques for quick and easy wrinkle removal.
Let’s get started.
Why do you need to remove wrinkles from clothes in Photoshop?
Wrinkles are distracting.
In fact, most people underestimate how eye-catching wrinkles can be.
And if you’re after a great image, then everything in the shot needs to work together and guide the viewer’s eye toward key compositional elements.
That’s why wrinkles can have such a negative impact. Viewers will get fixated on the flaw instead of considering what they love about your photo.
And if you plan on doing professional portraiture, you must get wrinkles under control.
Because here’s the truth:
Often, the difference between a professional photo and one taken by a beginner is merely attention to detail.
(Detail such as wrinkles!)
Removing wrinkles from clothes in Photoshop: The basics
There are many tools you can use to easily remove wrinkles from clothes in Photoshop.
But the most popular options are the healing tools.
Now, there are three healing tools in Photoshop: the Healing Brush tool, the Spot Healing Brush tool, and the Patch tool. Each of these can be used to “iron” your clothes and remove wrinkles in Photoshop.
When you heal an image, Photoshop samples pixels from the area’s surroundings and then matches the texture and lighting to the pixels being healed. That way, the retouch blends with nearby elements.
Now, the Spot Healing Brush will automatically determine the best pixels to sample, so all you have to do is set the size and hardness of the brush and paint over the wrinkle. Photoshop takes care of the rest.
Note that the Mode menu (in the top bar) allows you to choose the Spot Healing Brush painting mode. For removing wrinkles in clothes, the best option here is Replace. You see, fabric always has texture, and the Replace mode allows you to preserve this even as you heal away wrinkles.
You can then choose the Healing Type. You have three options: Content-Aware, Create Texture, and Proximity Match.
There’s no single “best” pick; instead, just experiment to see which one works best for your photo. In the example above, I found that Content-Aware gave the best results.
The Healing Brush tool works the same way, except that you choose the pixels you want to sample. Simply hold the Alt/Option key and click on the area from which you want to sample, then release the Alt/Option key and click on the pixels you want to heal.
Finally, the Patch tool lets you draw a selection around the area that you want to heal, then drag it toward the pixels that you want to source.
The Patch tool will allow you to work faster, as you can cover large areas with each retouch. Don’t overdo it, though. If the area is too big, the Patch tool won’t do a great job – so you need to find the right balance.
You can also move the Diffusion slider to adjust the blending speed and quality. Use lower values for pixels that have a lot of detail and higher values for smoother areas.
Challenges when removing clothing wrinkles
When you are removing a single, isolated wrinkle, things are not very complicated. However, when there are many wrinkles or you have large areas to cover, you can run into trouble.
Some of the most common issues when using any of the healing tools – as well as the Clone Stamp tool – are the accidental patterns you can create.
To avoid this, adjust the size and hardness of your brush. Also, change the source point and distance to avoid any recognizable repetitions. Finally, vary the blend mode and the opacity.
Keep in mind that, while you don’t want to create accidental patterns, you do need to follow the patterns of the fabric’s design and texture.
That’s the challenge.
Another difficulty is maintaining luminosity. Always clone or heal from places where the brightness appears to match the surroundings, though this doesn’t necessarily mean you should source pixels from right next to your wrinkle.
Otherwise, while you might not notice your heal on the first brushstroke, you will after a handful of strokes.
So when you have to work with big areas, it’s better to use an advanced technique (which I explain in the next section).
An advanced technique for removing wrinkles from clothes in Photoshop: Frequency separation
Frequency separation is a popular, high-level technique for retouching skin blemishes.
But it’s also fantastic for getting rid of wrinkles in fabric.
The basic idea is that you separate the texture and the color into two different layers.
To do this, create two copies of the original layer.
Then hide the top copy by clicking on the eye icon next to it.
Select the middle layer (i.e., the layer sandwiched between the top copy and the original). If you want, you can rename it Color.
Select Filter>Blur>Gaussian Blur. Drag the slider until you don’t see the details of the fabric.
Now enable the top layer again and select it. You can rename this one Texture.
Select Image>Apply Image.
In the dialog box, choose the layer called Color. Then select Subtract as the blending mode.
Finally, set the Opacity to 100%, the Scale to 2, and the Offset to 128. Then click OK.
Now head to the Layers panel. Make sure the Texture layer is selected, then set the blend mode to Linear Light.
And that’s the basics of frequency separation – now your photo is divided up into Texture and Color layers. And you can heal each layer separately!
Also, if you feel that the subject is too flat after applying this frequency separation technique, you can dodge and burn to bring back some dimensionality.
How to remove wrinkles from clothing in Photoshop: Conclusion
You should now be able to confidently remove wrinkles of any type – with just a few quick edits in Photoshop.
In fact, I used very extreme examples for this article, and it’s unlikely you’ll face wrinkles that serious unless you don’t iron anything at all.
(In fact, I recommend you or your client/model do a bit of ironing before a photoshoot, just to save time in editing later.)
I hope that, the next time you need to remove wrinkles from clothes in Photoshop, these techniques can be of help!
Now over to you:
Have you ever been faced with frustrating wrinkles in your photos? How did you get rid of them? Share your thoughts and images in the comments below!
The post How to Remove Wrinkles From Clothes in Photoshop (Fast and Effectively) appeared first on Digital Photography School. It was authored by Ana Mireles.
The post How to Create a Vignette in Photoshop appeared first on Digital Photography School. It was authored by Megan Kennedy.
Do you want to know how to create a vignette in Photoshop?
In this article, we’ll show you a step-by-step method to do just that.
And by the time you’re finished, you’ll be able to apply a vignette to any digital photograph quickly and easily.
Let’s get started.
A subtle vignette added in Photoshop. Canon 5D Mark IV | Canon EF 100-400mm f/4.5-5.6L IS II USM | 1/125s | f/5 | ISO 100
What is a vignette?
In photography, a vignette is any shadowy darkness that appears around the periphery of an image.
Like this:
An artificial, highly-exaggerated example of vignetting.
Now, vignetting can occur for a number of reasons.
For instance, optical vignetting is caused by the physics of wide-aperture lenses, which allows less light to reach the edges of the camera sensor.
But the type of vignetting we’re interested in for this article is artificial vignetting – where you create vignetting yourself using a program such as Photoshop.
Why create a Photoshop vignette?
Vignetting can be a contentious topic in photographic circles. Some photographers love vignettes, while others loathe them.
But as photography has evolved, applying artificial vignettes in Photoshop has become a useful compositional device. Vignettes are an enduring photographic technique that can add to the gravitas of an image by creating a sense of atmosphere, age, or depth.
How to create a vignette in Photoshop
There are quite a few ways to create a vignette in Photoshop, and in this article, I’m going to cover three of them.
These methods are simple, easy to apply, and will do a great job of creating a customizable vignette effect.
Method 1: The Lens Correction filter
If you’re looking for a quick way to create a vignette, then this method is a perfect choice.
To start off, open your image in Photoshop.
I’m going to use this lavender photo:
Step 1: Create a layer for your vignette
In Photoshop, it’s best to edit non-destructively; that way, you can always go back and adjust your original file if required.
So right-click on the Background layer in the Layers panel, then select Duplicate Layer.
In the pop-up window, rename the layer Vignette.
Step 2: Lens Correction filter
With the Vignette layer selected, click Filter in the Photoshop menu. Then select Lens Correction.
A new Lens Correction window will open. Click the Custom tab on the right-hand panel. Under the Vignette heading, adjust the Amount and Midpoint sliders until you’re happy with the vignette effect.
Then click OK.
If the image looks a little dull after applying the vignette, you can give it a contrast boost with a Curves adjustment layer. You can also adjust the intensity of the colors with a Vibrance adjustment layer. Make edits until you’re satisfied, then call it a day!
Keeping it subtle; the final result of the Lens Correction vignette method.
Method 2: The Gradient fill layer
This second method is a little more complex than the Lens Correction method, but it’s also more flexible.
Step 1: Set the foreground color to black
With your file open in Photoshop, the first thing to check is that the foreground color swatch is set to black.
To revert to the Photoshop default of a black foreground and a white background, press the D key.
Step 2: Add a Gradient fill layer
Next, click on the Layer menu and select New Fill Layer>Gradient. Click OK on the first pop-up window that appears.
There will be a second pop-up, the Gradient fill settings window. Make sure to tick the Reverse box. Set the Style to Radial and input the Scale to alter the intensity of the gradient (smaller numbers correspond to a more intense gradient). I usually enter around 300% to 350%.
Click OK.
The image after the Gradient fill layer has been applied.
Step 3: Experiment with opacity and blending modes
Once you’ve applied the Gradient fill layer, your image may look a little dark and flat. To blend the gradient effect more carefully, make sure the Gradient fill layer is selected and reduce the opacity of the layer via the Opacity slider.
Each image will be different, but I usually reduce the opacity of the Gradient Fill layer to around the 50% mark.
The vignette effect is more subtle with the opacity reduced.
To further blend the Gradient fill layer with the underlying image, you can also work with Photoshop blending modes.
Click on the blend mode dropdown menu and see what works best for your image.
Finally, if your image is still feeling a little flat, make some adjustments with a Curves layer to boost the contrast.
The final result, with a Hard Light blending mode applied to the Gradient fill layer and a contrast boost with a Curves adjustment layer.
Method 3: Using the Shape tool
Photoshop’s Shape tool has endless uses – including adding a vignette to a photograph.
And by working with an ellipse shape, you can easily create a versatile vignette.
Step 1: Create an ellipse
First, make sure your foreground color is set to black.
Then, with your image open in Photoshop, select an ellipse from the Shape Tool menu on the far left Photoshop toolbar. Check to make sure that the Fill swatch located toward the top of the screen in the Shape menu is set to solid black (if it’s not, then double-click and adjust the Fill color).
Once the color is set, drag the ellipse outline over your image to form an oval shape. When you release the mouse button, the shape will automatically fill with black.
Step 2: Invert the ellipse
With your Ellipse layer selected, click on the Properties window and select the Subtract front shape icon located under the Pathfinder heading (see below). The shape will reverse, creating a black border around a now-transparent ellipse.
Step 3: Adjust the vignette with masks
Make sure the Ellipse layer is selected, then refer back to the Properties menu.
This time, click the Masks icon; it looks like a gray circle on a dark background (see below). The Masks menu allows you to adjust the Density and Feather of the Ellipse layer. I usually leave the Density at 100%, but I push the Feather adjustment to its upper limits (which softens the vignette effect).
The Feather slider softens the edges of the vignette.
Step 4: Add finishing touches to your vignette
To increase the subtlety of the vignette, you can adjust the opacity of the Ellipse layer.
Experimenting with different blending modes is another effective way to adjust the impact of the artificial vignette.
And feel free to alter the dimensions of the vignette with the Transform options or tweak the contrast and saturation with layered adjustments.
The results of applying a vignette with the Shape tool in Photoshop.
How to create a vignette in Photoshop: Conclusion
As you can see, applying vignettes to your photos in Photoshop doesn’t have to be hard.
In fact, it’s really very simple!
So open some of your favorite images in Photoshop. See how they look with vignettes.
Because a subtle vignette can make a big difference!
Photoshop vignetting FAQs
What is a vignette?
A vignette is a darkening around the periphery of a photograph. It occurs for various reasons in many photographic circumstances.
How do I add a vignette in Photoshop?
There are several ways to create a vignette in Photoshop. The methods listed in this article are simple and effective ways to apply a vignette aesthetic.
Where can I find the vignette tool in Photoshop?
Unfortunately, Photoshop doesn’t offer a vignette tool. However, you can easily create a vignette with the Shape tool, a Gradient fill layer, or a Lens Corrections filter.
How do I remove in-camera vignetting?
The easiest way to remove vignetting in post-production is to open the image in Photoshop and – with the image layer selected – click Filter>Lens Correction. The Lens Correction window will present various options for reducing unwanted vignetting.
The post How to Create a Vignette in Photoshop appeared first on Digital Photography School. It was authored by Megan Kennedy.
The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.
Have you ever used Vanishing Point in Photoshop? If you’re only using the Transform tools to give perspective to image elements, you’re missing out on a fantastic opportunity.
The Vanishing Point filter is often overlooked; most photographers believe it’s only useful in a 3D workspace.
But here’s the truth:
Vanishing Point is actually a hugely useful tool, one that I absolutely recommend you learn how to use.
In this article, I’ll explain what the Vanishing Point filter is – and how you can use it to simplify and improve your photography.
Let’s get started!
What is Vanishing Point in Photoshop?
Vanishing Point is a Photoshop filter that allows objects and edits in your image to be scaled and oriented according to the image’s perspective.
You can find Vanishing Point under the Filter menu (simply click Filter, then Vanishing Point).
Once you’ve selected the Vanishing Point filter, Photoshop opens a special workspace for all your in-perspective edits.
Why is Vanishing Point important?
A vanishing point is what gives depth to an image.
For example, if you photograph a wall parallel to your camera’s sensor, the wall (and the overall image) should look flat.
But if you instead photograph the wall at an angle and you capture the way it vanishes toward a point in the distance, the wall – and the scene – appears three-dimensional.
Take a look at the arrows in the image above.
The wall is flat, with no depth.
But the railing moves toward the horizon, where (if it continued to stretch onward) it would vanish.
The Vanishing Point filter allows you to make adjustments to your photos in perspective, so that you achieve a realistic final result that perfectly mirrors the scene’s perspective.
(Do you see how the arrow stretching along the railing appears to fade into the scene? That’s because I added it with Vanishing Point!)
Working with Vanishing Point: The basics
When you launch the Vanishing Point filter, you might be wondering what to do and how to use it.
It looks similar to the normal Photoshop interface, but where do you start?
Here are the answers to some of the most common Vanishing Point questions:
How do you create a perspective plane?
Click the Create Plane Tool at the top of the toolbar on the left.
Then click on the corners of the plane you want to create.
(Here, you need to carefully follow in-perspective elements.)
Photoshop will immediately add your plane to the image, like this:
Now, when the lines that form the plane are blue, it means everything is working well. Yellow or red lines mean that Photoshop doesn’t accept the plane you’re tracing.
Once you’ve created a plane, try moving the corner points until you get it right. You can zoom in if you need to be more precise.
Everything you paste and everything you edit inside that plane (while you’re in the Vanishing Point workspace) will be put into that perspective.
How do you save a perspective plane?
When you’re done working inside Vanishing Point, click OK (in the top right) to accept the changes. This will add the perspective plane as part of your file.
If you save and close your image, the perspective plane will be saved, too. When you open your file again, you can launch the Vanishing Point filter, and the perspective plane(s) that you created will be present and editable.
How do you delete a perspective plane?
To delete a plane, simply select it, then press the Backspace key.
To select your plane, just click on it using the Edit Plane Tool. You’ll know your plane is selected if you can see the edge nodes around it.
Can you create more than one plane?
Yes, you can create multiple planes. And these can be separate or connected.
If you want to create a separate second plane, just finish working on your first plane, then click another part of the image and start afresh.
If you want to have your two planes connected, you need to tear the second plane off from the first. To do this, press the Ctrl/Cmd key and drag one of the edge nodes to create the next plane.
By default, the second plane will be at a 90-degree angle from the first. If this is not the way you want it, you can use the Angle controller you’ll find in the toolbar at the top of the Vanishing Point window:
How do you use Vanishing Point in Photoshop to paste objects in perspective?
First, make sure the object you want to add in perspective is present on a layer. Select the object (you can use Ctrl/Cmd + A to select all), then hit Ctrl/Cmd + C to copy it to your clipboard.
Once you have the object on your clipboard, add a new blank layer above the background image. This is because anything you do inside the Vanishing Point workspace will be applied to the layer that is selected when you actually open the filter.
Next, open the Vanishing Point filter and create a perspective plane that follows the perspective you want to give to the new element.
Once this is done, paste the new element into the Vanishing Point workspace by pressing Ctrl/Cmd + V. It will be pasted as a floating selection without perspective, but that’s okay.
Feel free to scale or modify the object. Then, once you’re satisfied with its shape and size, click on it and drag it inside the plane.
You’ll notice that the object will change shape and size according to its position in the plane. It will get smaller as it gets farther away from the camera, and bigger as it gets closer to the camera.
That’s it – now you can click OK to get back to the normal workspace. You’ll find the pasted element (in perspective) on the new layer. You can then use the Layer Style options to add shadows and create more realistic composites.
You can use this paste-in-perspective technique to showcase your photos on a billboard, create graffiti on a wall, or apply logos to product packaging photographs.
Advanced tips and techniques for working with Vanishing Point
Pasting elements in perspective is one of the most common uses for the Vanishing Point filter in Photoshop.
However, there are some other cool things you can do with the feature, including:
Painting in Vanishing Point
Inside the Vanishing Point workspace, you’ll find a Brush tool. With it, you can paint, write, or draw in perspective.
Therefore, the brushstrokes will get smaller as they move farther away from the viewer (to simulate depth).
You can choose the size of the brush, the hardness, and the color. Unfortunately, you can’t use brushes you’ve loaded into the normal workspace.
Cloning in Vanishing Point
You can also clone with the Vanishing Point filter. This is very useful, because the Clone Stamp tool will follow the angle and the size of the perspective plane.
Choose the size and hardness of your Stamp Tool in the top toolbar. Make sure that Heal is turned off.
Then source the pixels that you want to clone. To do this, hold the Alt/Option key and click on the target pixels (note that you must click somewhere inside the perspective plane).
Finally, clone the pixels onto a different part of the perspective plane.
You can clone the same way you’d use the regular Clone Stamp tool. However, the results will be very different.
Look at the composite below, which shows an original image, the image modified with standard Clone Stamp methods, and the image modified with the Stamp Tool in Vanishing Point.
When I sourced the pixels from the top of the brick wall using the regular Clone Stamp tool, the bricks had a different angle; when I cloned them from the side, they had a different size.
However, when I used the Vanishing Point Stamp Tool, I was able to add pixels in-perspective.
You can also use the Vanishing Point Stamp Tool as a Healing Brush by turning on the Heal option in the top toolbar.
Using the Marquee Tool in Vanishing Point
The Marquee Tool is the only selection instrument available inside the Vanishing Point workspace.
It’s very straightforward to use; just click and drag around the area that you want to select.
If you have two connected planes, the selection will “bend” to follow the perspective in both planes.
This is extremely useful if you want to duplicate elements that run through two planes. Look at the example above – I just selected an area, copied it, and pasted it again. It behaved according to the perspective of the plane, which allowed me to keep any depth and make the entire duplication job look more natural.
For better blending, you can feather the selection, just as you would in the regular workspace.
How to use Vanishing Point in Photoshop: Conclusion
Vanishing Point in Photoshop can make your work easier and faster when you’re dealing with perspective.
So make sure to give it a try!
Now it’s your turn:
What do you think of Vanishing Point? Is it a tool you plan to use in the future? Share your thoughts, questions, and tips in the comments below!
The post Vanishing Point in Photoshop: The Essential Guide appeared first on Digital Photography School. It was authored by Ana Mireles.
The post GIMP vs Photoshop: Which Should You Use in 2021? appeared first on Digital Photography School. It was authored by Ana Mireles.
Which is the better post-processing program, GIMP vs Photoshop?
That’s what this article is all about. I’m going to take you through the pros and cons of each program – so by the time you’ve finished, you’ll know which option is right for you.
So, if you’re ready to determine the best editing software for your needs…
…then keep on reading!
GIMP vs Photoshop: Overview
Photoshop is proprietary software that is available via paid subscription, whereas GIMP is a free, open-source program.
In the old days, before 2013 when Adobe changed to its subscription model, price was enough to decide between Photoshop vs GIMP.
You could choose Gimp for free, Photoshop CS6 for $ 699, or Photoshop CS6 Extended for $ 999. For most photographers, GIMP would inevitably win out.
Nowadays, you can have Adobe Photoshop starting at $ 9.99 USD per month. That’s a very reasonable price, even for a hobbyist.
Of course, GIMP is still free, so don’t automatically pay for Photoshop without thinking.
Instead, I recommend you take a careful look at the key differences between these two programs:
GIMP pros
Portability
Light download
Faster processing
Customizable
Free
Photoshop pros
Mobile
More tools
Handles more color profiles
Supports RAW and other file formats
Non-destructive editing
Good value for the money
Mobility and portability
If you only have one computer and do all your photo editing there, this isn’t an issue for you. However, most photographers don’t edit that way.
You see, here’s one of the most important differences between GIMP and Photoshop:
GIMP is more portable, while Photoshop is mobile.
GIMP doesn’t have a mobile version, which puts it at a huge disadvantage in today’s world where every smartphone has a camera.
Of course, you can still edit your photos on your phone for free. There are many options out there (including Photoshop, as I’ll explain in a moment). However, you can’t do mobile editing with GIMP.
What GIMP does have is portability. If you need to work on multiple computers, GIMP can be downloaded as many times as you want. You can even install GIMP on a USB drive so you can use it on any computer without having to download it.
This is an excellent choice if you want to edit your photos in a university library or in the business lounge at your hotel or airport, for example.
Photoshop, on the other hand, can only be installed on two computers. Also, the program needs to be fully installed, so you can’t place it on external hard drives.
However, Photoshop does have a mobile version: any paid Photoshop subscription comes with Photoshop for the iPad.
Plus, Photoshop for smartphones has three free versions (though you’ll need a free Adobe account to use them).
In summary:
Photoshop wins if you need to edit on the go. GIMP wins if you need to use it on many computers, including public ones.
Size and speed
GIMP is a very light program (after all, you can install and use GIMP from a portable USB drive!).
Photoshop, on the other hand, occupies quite a lot of space on your hard drive. It also uses a lot of RAM. So if your computer has limited processing capacity, Photoshop won’t be your friend.
There are some ways to optimize your computer for Photoshop use, but all in all, Photoshop will always be more resource-intensive than GIMP.
For Photoshop, you need 4 GB of available hard disk space (and additional space is required for installation).
GIMP requires 200 MB for the official install. This can grow depending on how you enhance GIMP over time.
As far as memory goes, Adobe recommends a minimum of 8 GB and preferably 16 GB of RAM. I’ve used Photoshop with 4 GB of RAM, and it works – but it’s choppy. GIMP, however, only needs about 20 MB of memory.
Note that the memory required by both GIMP and Photoshop can significantly increase depending on the images you’re working on, so that’s always something to bear in mind.
Ultimately, thanks to its size and processing requirements, I have to give the win to GIMP.
System and tools
I mentioned at the beginning that GIMP is open source while Photoshop is proprietary software.
This means you can modify GIMP as much as you want, from adding tools to directly changing the source code.
Modifying a program is great, but if you don’t know the tech behind GIMP, you probably won’t be able to take advantage of the open-source design. Even installing GIMP plug-ins can be difficult, and without these enhancements, you’ll be left with a program that is too bare to be appealing.
On the other hand, if you can get the hang of it, this flexibility can be hugely helpful. Plus, there is a big community behind GIMP, and many members are constantly creating interesting program additions. That way, you don’t have to wait for the GIMP team to release the next update; you can use community members’ programming to enhance your own GIMP software.
Photoshop is delivered as a finished product. You can’t make many changes, but it also doesn’t require much in the way of enhancements. You can set up your own workspace and add plugins, but that’s about it. On the upside, you get continuous updates included as part of your Adobe subscription – and in every update, you get high-quality improvements and innovations, thanks to a huge team that has maintained Photoshop’s status as the industry standard for many decades.
Photoshop also gives you the tools to create graphics and 3D designs, which is a very big plus if you have use for it.
Otherwise, these features will take up a lot of space in your system, but you don’t have the option to remove them and keep only what you need.
When it comes to tools, I find it difficult to declare an overall winner. Photoshop is a more robust program, but GIMP is more flexible. I’ll call it a tie, depending on your needs and skills.
File formats and color profiles
As you know, digital images are files with information. The file format is the way in which this information is encoded and stored.
Photoshop has its own native format: the PSD, or Photoshop Document. In the same sense, GIMP has native XCF files.
While the PSD is native to Photoshop, it’s very compatible; it can be opened by the Adobe apps, CorelDRAW, and even GIMP.
On the other hand, the XCF file format is not supported by other image editing programs. This makes it difficult to share original XCF files.
As a workaround, you can export the file using one of the common file formats like JPEG or TIFF, but the lack of XCF support does present some problems if you want the file recipient to build on your own edits (assuming they don’t use GIMP).
Also, GIMP doesn’t open RAW files by default. If you want to work with RAW files in GIMP, you have to download and install a plugin called UFRaw, whereas Photoshop has a built-in companion program, Adobe Camera RAW, which handles RAW files with ease.
When it comes to file management, you also have to consider the color profile options.
Gimp can only handle the sRGB color profile, whereas Photoshop has many more options. This is important when you want your images to look their best on the web and for printing.
To recap:
Regarding file formats and color profiles, Photoshop offers more options and is more compatible with other programs – which is why I’d give the win to Photoshop.
Editing and layers
I already covered the tools in a previous section, so you know that, for advanced editing, Photoshop has the edge over GIMP.
Both programs support plugins, actions, and presets. You can find many great options for free. The only difference is that Photoshop has more variety to choose from because it’s more popular overall.
The same rules apply for tutorials:
You’ll find so many more educational materials for the Adobe products compared to GIMP.
Finally, there is one thing Gimp is sorely lacking: non-destructive editing. Photoshop offers both adjustment layers and smart objects, which are extremely important for serious editing and hand Photoshop a definite win.
Cost and value
Last, I want to talk about cost and value.
When you download GIMP, there is no cost or subscription involved in the process. You get a photo editing program for free.
That’s not bad at all, considering that you’re not paying any money or giving out any information that many other “free” programs require.
However, you’ll need to download GIMP enhancements separately.
A Photoshop subscription includes the editing program, plus cloud storage space, a free customizable website on Adobe Portfolio, and access to Adobe Fresco, Adobe Fonts, and Adobe Spark. You can also get Adobe Lightroom if you choose the Photography plan.
And you have access to all the perks that come with the size and experience of Adobe, such as thousands of high-quality, creative brushes designed by Kyle T. Webster, as well as the most innovative tools that a big team of experts can develop.
When it comes to value, I have to declare a Photoshop vs GIMP tie. GIMP is free in every sense of the word, and you get excellent software.
For Photoshop, you do have to pay, but considering the low cost, the high quality, and the number of extras that you get, the program offers great value for the money.
It all comes down to what you need and what you can afford.
GIMP vs Photoshop: Conclusion
In my opinion, Photoshop is worth having if you’re into photography post-production.
That is, of course, if you can afford it. If you can’t do that just yet, then GIMP is a magnificent choice.
I actually have and use both programs. There are some things I find easier to do in one software versus the other. So owning Photoshop and GIMP gives me the best of both worlds!
I hope this GIMP vs Photoshop comparison gave you enough information to decide on the right program for you, based on your needs and budget.
Remember that the most important thing is your passion and your skills, so keep on creating – no matter which program you choose!
To download GIMP, click here, and to purchase Photoshop, click here.
Now over to you:
Which post-processing program do you prefer, GIMP or Photoshop? And why? Share your thoughts in the comments!
The post GIMP vs Photoshop: Which Should You Use in 2021? appeared first on Digital Photography School. It was authored by Ana Mireles.
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