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Archive for the ‘Photography’ Category

In The Pink – 19 Rosy Colored Images

26 Oct

Rose colored glasses, in the pink, tickled pink, pinkie finger and a pink elephant. This color can represent a lot of things. Here are some examples by different photographers who found unique pink subjects to shoot.

Nuwandalice

By Nuwandalice

David Yu

By David Yu

Brian McHugh

By Brian McHugh

SurprisePally

By SurprisePally

Javcon117*

By Javcon117*

Katie Dalton

By Katie Dalton

Liliana

By Liliana

Howard Ignatius

By Howard Ignatius

Shimelle Laine

By Shimelle Laine

Paimei01

By paimei01

Louise Leclerc

By Louise Leclerc

*Ann Gordon

By *Ann Gordon

Ram Yoga

By Ram Yoga

Marchnwe

By Marchnwe

Duncan C

By duncan c

Ian D. Keating

By Ian D. Keating

John Verive

By John Verive

Chris Kennedy

By Chris Kennedy

Patrik Nygren

By Patrik Nygren

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Weekly Photography Challenge – Pink

26 Oct

We do a lot of weekly challenges around colors but we haven’t done one on pink yet on my watch! So I thought it was time.

June Yarham

By June Yarham

Weekly Photography Challenge – Pink

Pink is a color many people associate with femininity and girls or girly stuff. Most commonly we think of pink flowers when we talk about this color, but what else can you find that’s pink?

Get out there this week and seek some pink items. It might be a flower, bubblegum, a rosy sunset, or even a cocktail or pair of sneakers. Use your powers of observation and look for this less common color. I bet you’ll start seeing it everyone once you start looking.

Andrew Reding

By Andrew Reding

Rachel

By Rachel

Nerissa's Ring

By nerissa’s ring

Thomas Hawk

By Thomas Hawk

Share your images below:

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images on the dPS Facebook group as the challenge is posted there each week as well.

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How to do Non-Destructive Editing in Photoshop

26 Oct

Picture this, you are about halfway through editing a beautiful urban landscape in Photoshop. You’ve already put hours into the image when suddenly you notice that a particular area of the image doesn’t add up. A wall you were working on has accidentally been Clone Stamped to look as if it were hanging at an unnatural angle. It just looks wrong. After repeatedly hitting the undo button you discover that Photoshop can only remember so much, and you are stuck with this disastrous looking edit. All you can do now is waste more precious time trying to fix the problem or close the program and start from square one. If only there was some other way – enter non-destructive editing in Photoshop.

Non-Destructive Editing in Photoshop

Now you see me…now you don’t! Editing with a non-destructive workflow means that you can edit your photos without leaving a trace on the original file.

What is non-destructive editing?

Fortunately, there is a better way! Non-destructive editing (sometimes called NDE for short) is a method of editing in Photoshop that allows you to make changes to an image without overwriting the original image data. This means that you will always be able to backtrack on adjustments made to an image as needed, retaining flexibility and keeping the resolution of the original image intact.

You may have already encountered non-destructive editing while following online tutorials that instruct you to use a particular adjustment layer to make modifications rather than editing the actual image.

Non-destructive editing is not one single technique. You can perform it in numerous ways in Photoshop depending on the desired outcome of an image. For this article, we will have a look at some of the most basic methods used by photographers for doing non-destructive editing .

Duplicating the background layer

No matter what image you have opened in Photoshop, the first step is always to duplicate the background layer. If you do happen to make an adjustment directly onto the image the background layer will remain untouched. Then you can start afresh with all your adjustment layers intact.

To do this, open an image in Photoshop. Move the curser to the thumbnail image in the Layers panel and right click on the shaded area that says Background. Now select the Duplicate Layer option and select OK at the screen prompt. A new layer will appear above the Background layer in the layers panel titled Background Copy.

non-destructive editing duplicate layer

nondestructive editing Photoshop

non-destructive editing

Working with adjustment layers

Simply put, adjustment layers apply colour and tonal adjustments to an image without permanently changing any pixel values. To activate the adjustment layers panel click Window on the top menu bar and select Adjustments. It will bring up a panel with lots of adjustment options such as levels, hue/saturation, brightness/contrast, gradient overlays and black/white.  This is the go-to panel for digital editing and in most cases, it will provide all the editing tools you will need.

Non-Destructive Editing in Photoshop

Select one of the adjustment layers by clicking on an icon. The name of the icon will appear if you rest your mouse on it for a moment. In this example, I have chosen Curves to adjust the contrast in my photograph. Clicking that icon will cause the Curves panel to pop up with the available settings within that adjustment.

non-destructive editing curves

Non-Destructive Editing in Photoshop

Notice that there is now a new layer in the layers panel which is sitting above the one called Background. This means that any layers below the Curves layer will be affected by this adjustment. To limit the effect of an adjustment to a single layer only, right click on the adjustment layer and select Create Clipping Mask. A small arrow pointing down indicates that the adjustment layer will only affect the one that is sitting directly underneath it.

Non-Destructive Editing in Photoshop

Using Smart Filters

Adding a filter to an image can be done non-destructively and will allow you to undo the effects of it later if you change your mind. Click on the layer you would like to apply a filter to and click on the Filter drop-down menu located on the top main toolbar. Select Convert for Smart Filters and a pop-up will appear saying that you must turn the selected layer into a Smart Object. Hit OK and a tiny document shaped icon will appear in the bottom left-hand corner of the selected layer thumbnail image.

non-destructive editing convert smart filters

non-destructive editing smart object

After you select a filter from the Filter Gallery (via Filter > Filter Gallery) and apply it to the image, you will see two new items beneath the selected layer. Clicking on the eye icon next to the Filter Gallery layer will toggle the filter on and off, and double clicking near the Filter Gallery text will open the Filter Gallery adjustments. Right clicking on the Filter Gallery Layer will bring up a menu. If you want to remove a filter altogether, select delete and the filter mask will disappear without degrading your image.

non-destructive editing

Use Layer Masks instead of the Eraser Tool

Masking is one of the more common tools in the Photoshop master’s kit. Using a layer mask allows you to you hide or mmask off parts of an image rather than using the eraser tool to permanently remove parts of an image. To apply a layer mask, open an image, select the layer you want to edit and click on the small icon at the bottom of the layers panel.

non-destructive editing mask

Non-Destructive Editing in Photoshop

A close-up of the Layer Mask button.

A mask will appear next to the layer you have selected, with a small chain icon between the thumbnail and the mask. When you have the image icon selected any effects applied to the image will occur as normal. However, if you select the mask, you will find that painting onto it (with black) will hide parts of that layer.

Close up of the selected mask layer - note the white lines around the corners of the layer.

Close-up of the selected layer mask – note the white lines around the corners indicating which part is active.

Non-Destructive Editing in Photoshop

With the background layer turned off (not visible) you can see that part of this layer is missing, or hidden by the layer mask where it is black. Black conceals or hides, white reveals.

Now, if any hidden portion of the image is painted over in white on the layer, it will be visible again. If you then delete the mask all the hidden areas will reappear.

Dodging and burning non-destructively

The Dodge and Burn tools are used to lighten and darken areas of an image, but applying these effects directly to an image is destructive, preventing you from being able to edit the changes later.

To dodge and burn non-destructively, start by opening up your photo. Duplicate the background layer, then select Layer > New > Layer from the top menu bar. A dialogue box will pop-up, make sure your settings are the same as those shown below and hit OK. A new layer will be created.

Non-Destructive Editing in Photoshop

Create a new layer

Use the settings you see below. That will fill the layer with gray and change the blend mode to make it effective for dodging and burning.

non-destructive editing

Use these settings for your dodge and burn layer.

You can give this layer a nickname to help you remember what it is doing. You can always do it later if you forget, by double-clicking on the layer name. I usually call this layer “dodge/burn”.

Now simply select either the Dodge or Burn tool and apply any adjustments to this new layer. Though you are now editing one layer above the actual image, you have adjusted the blend mode so that the opacity of the grey Dodge/Burn layer is completely transparent, and any changes you make to this layer now appear to only adjust the image, without impacting the quality of the original pixels.

non-destructive editing dodge burn layer

Result of the dodge and burn layer

Result of the dodge and burn layer

Using the Clone Stamp non-destructively

The Clone Stamp is another great tool used to remove bits and pieces you may not want in an image. Normally it works by moving pixels in the original image around but, you guessed it, that is a very destructive technique!

To use the Clone Stamp Tool non-destructively simply create a new layer as before. Next, select the Clone Stamp Tool and in the Sample drop-down menu select the Current & Below option. Now the Clone Stamp Tool will sample everything in the image but only apply any changes to the top most layer.

clone tool

non-destructive editing

The clone layer looks like this.

clone tool non-destructive

The result of the clone layer being applied looks like this.

Conclusion

There are plenty of other methods to edit non-destructively. But as the basics show, non-destructive editing is mostly about using new layers that are placed above the original image rather than adjusting the original image itself. It may seem clunky at first, but it will soon become an automatic part of your workflow. The next time you find yourself with an awkward edit you’ll be glad you can simply turn a layer off rather than starting all over again.

How do you use edit non-destructively in Photoshop?

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7 Tips for Attending a Photo Walk

26 Oct

As a photographer, you might have noticed that photo walks are all the rage these days. Whether it’s an event run through meetup.com or eventbrite.com, or a more involved workshop from a teacher that you follow, photo walks are one of the best ways to see a place and to improve your photography.

nyc-photowalk-750px-14

NYC photo walk featuring dPS Managing Editor Darlene as my guest (I’m in the front row with the hat, she’s in blue with a hat on my right).

Classroom and reading time are very important for improving, but nothing can replace the act of learning while you are out there photographing. This is where all the things you’ve learned come together and finally stick in your head. It is also the most fun way to learn.

So if you haven’t already, I suggest that you start seeking photo walks out, and here are some tips to help when you do.

1. Use them as an excuse to meet other photographers

Photo Walk

One of the main advantages to photo walks is that you are surrounded by like-minded people with similar passions. I don’t know about you, but most of my family and friends from growing up are not very into photography. So I try to find new photography friends whenever I can, but it can be tough to do that. Photo walks solve this problem.

Introduce yourself, exchange information, and talk about possibly going out to shoot again. You can take your favorite few people from each walk and start building an awesome network of photographers to go out shooting with in the future.

If you have questions, by all means, ask the organizers of the walk, but also see what the other people attending think. This is a chance to learn from many unique perspectives. Photography is a subject where there can be many correct, but differing answers to a question or problem, and it’s good to hear multiple opinions.

2. Watch what other people are photographing

Photo Walk

You are there to have fun and learn, and sometimes a great way to learn in this environment is to watch the other photographers and see what they are attracted to. Just from teaching on photo walks for the last five years, I have found so many new interesting ways to capture the city by watching my students. I have walked down certain blocks hundreds of times and then suddenly someone will capture it in a way that I had never thought of. It is an incredible way to learn.

3. Shoot on your own occasionally

New York Photo Walk

That being said, mix it up and take some time to break off and shoot on your own. You have the advantage here to learn from so many others, but at the same time you want to capture your own, unique photographs, and you need some quiet to do that. Step away a handful of times during the walk, but make sure not to get lost or slow down the group. After that, you can reengage with everyone else.

4. Get out of your comfort zone

New York Photo Walk

This is a chance to do something you are not used to doing. If you are a street photographer and are on a street photography meet up, of course, that is what you will be focusing on. But if you are a landscape photographer, consider doing some street photography, and if you are a street photographer, consider trying more landscapes. Do some portraiture. Improve your lighting. There are photo walks for nearly everything.

Seek out photo walks that will cover your interests and others that will challenge them. Everyone has their likes and dislikes, but this is a great chance to seek new perspectives and to round out your abilities.

5. Learn about the area beforehand

Photo Walk, New York City

Some photo walk leaders will talk about the history of the neighborhood, while others will strictly focus on the photography. Both are great ways of running workshops, but history is very important to photography. It helps to inform what you are shooting and to improve your awareness of the place.

Take some time on your own to read up about the area. Learn about the history, and explore the work of photographers that frequent those areas. Come prepared with this knowledge and it will make your day even that much more successful. This knowledge is not only inspiring but it will improve your ability to notice those special moments that create a magnificent photograph. In addition, some of the other walk attendees may find this knowledge fascinating as well.

6. Organize one yourself

Photo Walk

As you continue to attend photo walks, build your network of local photographer friends and start shooting with them regularly. Once you all get to know each other this could become a very close group of friends. Keep in touch, build friendships, attend gallery events together, and share your work and ideas.

Having a close group that all know you and your work is the best way to get a proper critique. If you just ask anybody or share your work on the web, you never know what the person’s perspective is who is giving you the critique. Usually, they just say “beautiful!” With a close group, that perspective will grow between all of you and these friends will not be afraid to tell you when they do not like something.

7. Do not get run over by cars or bikes

Photo Walk, New York City

This is the hardest part of my job, so please help me and the other photo walk leaders out. When you are in a new place, photographing in a new way, or surrounded by competing stimuli and photographers walking around, your situational awareness can become distracted. People with their lens to their eye can suddenly walk backward into the street trying to get the correct perspective, but with no awareness of where they are and the dangers that could hurt them.

Always be careful and look before you make a sudden stop or a move sideways or backward. If you are using a tripod on the sidewalk or street, be careful about the tripod legs. Make sure they are no wider than the width of your body so that bikers won’t trip on them riding by you.

With a one-on-one workshop, I can do a good job at making sure people don’t make unwelcomed moves on the street, but with a large group it is out of my ability, so please watch out for both yourself and your fellow photo walkers.

Conclusion

Have you participated in any photo walks? Please share your experience and tips for them below.

Now go out and find some photo walks!

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Overview of the Yongnuo RF-603 Wireless Flash Trigger

26 Oct

Off-camera flash is a key technique that can really differentiate your photography style and make you and your imagery appear more professional. The tools needed to achieve off-camera flash are relatively simple, consisting of just a flash unit and a cord or triggers to connect the flash to your camera. While a cord is by far the cheapest and most straightforward option, it’s also inconvenient since it physically binds you to your camera. Wireless triggers are a simpler solution, but they tend to be pricey, especially if you opt for Pocket Wizards. Enter a budget option: the Yongnuo RF-603 wireless flash trigger.

Yongnuo RF-603 wireless flash trigger

Features

Priced at under $ 35 for a set of two, the Yongnuo RF-603 works as both a wireless flash trigger and receiver. It can also function as a remote shutter release for your camera.

Yongnuo wireless flash triggers

What’s in the box: two (2) flash triggers, one (1) N1 shutter release cable. AAA batteries not included.

One of the triggers attaches to your off-camera flash unit via the hot shoe mount. Ihe other slides onto your camera’s hot shoe mount and also connects via the included N1 shutter release cable. Then you simply turn the triggers, camera, and flash on and you’re good to start firing away!

You can also purchase additional Yongnuo transceivers to trigger multiple flashes at once. To use the Yongnuo RF-603 as a shutter release, simply attach one unit to your camera’s hot shoe mount, turn both units on, and use the second unit to remotely fire your camera.

Yongnuo wireless flash triggers

How to Yongnuo RF-603 trigger attaches to your camera.

Yongnuo wireless flash triggers

Batteries

Besides being very reasonably priced, these Yongnuo triggers are powered by two normal AAA batteries. They use the battery power very efficiently, meaning you won’t have to constantly switch out drained ones. The triggers are also very slim and lightweight in size at just three inches long, making them easy to slip into a bag or pocket. These triggers are compatible with most DSLR cameras, but double check to make sure you order the correct model that is compatible with yours.

Yongnuo wireless flash triggers

Slim and low-profile, the Yongnuo RF-603 doesn’t add a lot of bulk to your flash unit.

Shooting distance

Another point to note is that these Yongnuo triggers use a 2.4GHz wireless frequency, and the remote control distance is up to approximately 100 meters (328 feet). Synchronization speed can reach 1/320, but may only reach 1/250 depending on the exact scenario you’re shooting in.

Yongnuo wireless flash triggers

Yongnuo RF-603, the original version.

Yongnuo wireless flash triggers

Yongnuo RF-603 II, the latest version.

Why the Newer Version is Better

When shopping around, you might notice that there are two Yongnuo RF-603 models: RF-603 and RF-603 II. The older, original version looks like it has recently been discontinued by the manufacturer, but it is still available for sale. Thus, it’s important to note several key differences between the two models, and why you’ll probably want to opt for the newer version. Also note that the original and newer transceivers are compatible with each other, so you can mix and match if you happen to have both versions.

Yongnuo wireless flash triggers

The round locking mechanism above the metal hot shoe of the Yongnuo RF-603 II (the original version does not have this feature).

Yongnuo wireless flash triggers

An example of the locking mechanism being used to attach the flash to a lighting stand.

Enhanced on/off switch is on the side for easier access

The original trigger has the on/off button on the top surface, which means it is completely covered up when attached to your flash. Thankfully, Yongnuo fixed this problem in the second version, and moved the on/off button to the side of the trigger. The newer version also includes the option of designating the trigger as off, in TR mode or TRX mode, rather than simply on or off.

Yongnuo wireless flash triggers

Even before the flash unit is fully attached, the on/off switch of the original Yongnuo RF-603 is already covered and hard to access.

Yongnuo wireless flash triggers

The newer Yongnuo RF-603 II added options to the on/off button and moved it to the side of the trigger.

Yongnuo wireless flash triggers

Having the on/off button on the side of the trigger makes it easier to access with the flash attached.

Who should use Yongnuo RF-603 Triggers

If you’re a photographer looking for a low-cost way to experiment with off-camera flash, Yongnuo triggers and even their own brand name flash units are highly recommended. Based on multiple user reviews and my own experience with Yongnuo products, they are dependable, efficient, and incredibly easy to use despite being considered budget options.

The only downside to these Yongnuo RF-603 triggers lies in their simplicity. Since this base model trigger only has a simple on/off button, you still have to manually adjust your flash settings if you want to tweak the flash power, flash zoom, etc. Upgrading to a more sophisticated trigger system such as the Yongnuo 622N TX ($ 85 for a pair approx.) gives you the full power of adjusting flash settings without having to even touch your flash. However, given the extra cost and complication of the Yongnuo 622N, only opt for this version if you truly need the extra features (in other words, stick with the RF-603 if you’re a beginner or on a budget).

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How to Expose Correctly for High Contrast Wildlife

25 Oct

Photographing wildlife of deeply contrasting colors, such as black bears or white waterfowl, can present certain challenges setting up shots that are properly exposed for the wildlife and also the surroundings. Harsh lighting also makes exposing for these subjects especially difficult. The hurdle to overcome in these cases is to expose for the subject animal(s) properly and still capture a scene that is pleasing to the viewer. What often results are images where the exposure is correct for the surroundings, but the creature is either under or overexposed.

Getting the subject wildlife exposed correctly is a more important aspect because the background can be dealt with later in post-production. In some cases, the background just doesn’t really matter in comparison to the photo capture of the often elusive wildlife in the scene.What follows are methods to use in stark color-contrasting situations. One is for dark colored wildlife such as black bears or ravens, and another for light colored wildlife such as egrets or swans.

What follows are methods to use in stark color-contrasting situations. One is for dark colored wildlife such as black bears or ravens, and another for light colored wildlife such as egrets or swans.

Exposure Details

A reality of photographing wildlife is that when things happen, they happen fast. Lighting may change very quickly and there may not always be time to make adjustments while shooting the action of the wildlife in view.

Most experienced photographers want control of all camera settings and don’t generally choose to shoot in auto modes for shutter speed and aperture in order to control movement and depth of field. So is there was a way to set the shutter speed and aperture and still get the correct exposure without the hassle of continually changing settings as the light changes?

There are many ways of shooting wildlife resulting in a desirable exposure, but probably one of the most overlooked ways is using the Auto ISO setting in Manual mode. To use this method, set the camera in Manual mode, adjust shutter speed and aperture to the settings desired, and then set the ISO to auto-ISO. Most cameras will allow you to set a maximum ISO, so it’s helpful to know at what ISO the images become unacceptably grainy with your camera. However, this still doesn’t entirely solve the problem of correctly exposing for those dark and light animal subjects. To solve these problems you can fine-tune the exposure by using exposure compensation.

Correcting the background in post-production

As in any image, if editing is planned it is important that the image be shot in RAW mode. When opening an image in Adobe Raw Converter (ARC) (or Lightroom) and if the exposure for the animal is correct in camera, then only the background may benefit from corrections in post. In most cases for wildlife images, the background hues are green, yellow or blue. To enhance or balance these colors in ARC, go to HSL/Grayscale panel and simply darken or lighten the luminance for green, yellow or blue until the background exposure appears to match the exposure of the animal. A little saturation may also be added. If a little punch or contrast would improve any background flatness, one may use an adjustment brush to add some contrast and clarity to the background. It’s that simple!

Dark Colored Wildlife

In this image the correct exposure for the black bear over-exposes the green background.

The luminance of the green has been adjusted to decrease the background exposure.

The dark hues of some wildlife will absorb more light than the scene around them, so it becomes necessary to increase the light taken in by the camera by using exposure compensation as mentioned above. For wildlife with dark colored coats or feathers, use exposure compensation and adjust by adding light (+value). This will suffice in most cases, depending on the amount of natural light available.

Keep in mind that the wild subject is the most important component in the image, so if any aspect of the image should be sacrificed in the moment, make it the background. For really dark creatures, such as bears, start out by using a compensation of +1. Remember, don’t worry about the background. The animal is the important exposure!

The exposure is correct for the black bird, but the background is washed out and boring.

Again, the luminance of the green has been adjusted. Then an adjustment brush has been used to add contrast, creating a vibrant background.

Light Colored Wildlife

Conversely, for light colored animals, use exposure compensation and adjust by subtracting light (- value). The whiter color of many beautiful creatures will reflect much more light than the background will, so it helps to decrease the light the camera takes in so as not to overexpose the animal.

In keeping the white egret from being overexposed, the background appears dull and dark.

The green and yellow hues were adjusted to add life to the background. Notice that in every case the exposure of the subject is unchanged.

Why can’t I just correct the exposure of the wildlife in post-production?

Of course, this is an option. But there at least two reasons for not correcting the exposure of the subject later on the computer.

  1. Any time a major exposure correction is undertaken, there is a certain amount of digital data of the image that is lost. Therefore, it is best to get the main subject of the image captured as closely as possible in camera. (This is true of any image, not only wildlife subjects.)
  2. When photographing extremely light colored animals, if the white is over-exposed to absolute white there is nothing that can be done in post-production to pull out any detail. Darkening the subject will not bring back any nuance in the creatures coloring, and the image will lose desirable texture. Again, conversely, if the black-coated bear or bird is underexposed to absolute black there is no way to lighten the subject and pull out interesting details from the fur or feathers.

What about the Eagle?

Some animals are doubly challenging as in the case of the American Bald Eagle, with its white head and dark body. These magnificent creatures are almost impossible to photograph in harsh light. If choosing which end of your histogram to sacrifice, my opinion is to expose for the white head.  Again, avoid harsh lighting if at all possible.

Conclusion

Remember, when you’re faced with a choice of settings for an extreme exposure while photographing wildlife, never sacrifice your subject. Whether a light or dark-coated bird or animal, intentionally set up the shot to capture the creature and its distinctive features and keep the background as a secondary consideration. To make sure the subject will be correctly exposed, use a 3-shot bracketed exposure, with an exposure one stop over and another exposure one stop under the setting.

Do you have any wildlife exposure tips? Please leave them in the comments below.

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How to Make a Sketch Inside a Photograph

25 Oct

This is one of those tutorials that’s great to play around with, maybe do it once or twice. But in the end, the thing they are great for is that they always teach you something. It may not be much, but it might help you think in a different way, or learn a skill you didn’t know about. This one is about how to make a sketch inside a photograph.

how-to-make-a-sketch-inside-a-photograph

 

This is a simple tutorial that can help you learn how to use layers, and combine images. There are so many things you can do with layers, but  in this example, we are going to work on putting a drawing of a scene in front of the photograph. Of course, it isn’t a real drawing, but one that is created from the image using the artistic filters in Photoshop.

The image

Deciding which image you are going to use can be harder than you think. It could take a while to find one that will work well, one with lots of contrast is good. You want an image that will stand out when you put the drawing over the top of it.

How to Make a Sketch inside a Photograph

Open the image and process it normally to get it ready. If you have several layers flatten or merge all of them, and copy that new merged layer so there are two. To copy the layer press Ctrl/Cmd+J.

Turn off the top layer by clicking on the eye icon next to the thumbnail. That will make it disappear, or turn off temporarily.

How to Make a Sketch inside a Photograph - hide layer

Click the bottom layer to select it as the one that you will change into a drawing.

Making the drawing

Go up to the Main Menu and click Filters > Filter Gallery, or use the keyboard shortcut Ctrl/Cmd+F.

How to Make a Sketch inside a Photograph - filter gallery

If you can’t bring up the Filter Gallery or click on it in the menu, it may be because your image is either 16 or 32 Bits, so you will need to change it to 8 Bits.

To change the image to 8 Bits select from the top menu bar: Image > Mode > 8 Bits/Channel. You should now be able to use the Filters Gallery.

How to Make a Sketch inside a Photograph - 8 bits

There are loads of options in the gallery to give you an artistic look. Select the one you like. For this example, I used the Graphic Pen found in the sketch section. If you don’t like any of the ones that Photoshop has to offer, you can look for artistic actions (google search) that may give you a better drawing.

How to Make a Sketch inside a Photograph - sketch filter

Adding the hand

I took several images of my daughter holding a piece of paper. It’s good to get a large variety, and if you have the time, shoot in different lighting conditions as well.

How to Make a Sketch inside a Photograph - hands

Choose an image of the hand holding the paper. Open it in Photoshop and use the Quick Selection tool to select the hand and paper. It doesn’t have to be exact, as long as everything you need is selected. Once you have the hand on the image you can fine-tune it.

How to Make a Sketch inside a Photograph - selection of hand and paper

Press Ctrl/Cmd+C, then Ctrl/Cmd+V. This will copy and paste the selection onto a new layer (in the same document). However, if you go back over to your original image and pressCtrl/Cmd+V it will paste the hand onto your image as a new layer. Use the move tool, the top one in the tool bar.

How to Make a Sketch inside a Photograph

Size and position the hand

If you are lucky the hand will be the correct size, however, if it isn’t you may have to resize it. You might also have to change the angle. Free transform will allow you to do that, press Ctrl/Cmd+T to activate it. If you click on the corners you can make it bigger or smaller (hold Shift down to keep the proportions the same!). If you hover around the corners you will see a small curve appear with arrows on either end, this will allow you to rotate it to the desired angle.

How to Make a Sketch inside a Photograph - transform tool

The hand looks a little odd because it needs a shadow. Take note of your original image and how the shadow was placed. You also need to look at the main image, it will look a bit off if the light is coming from a different direction than the image of the hand.

Creating the drawing on the paper

To get the image on the piece of paper you need to ensure the layer that is the photograph is still not visible. It should still be invisible from when you did the drawing.

Add a mask to the layer with the hand and paper. At the bottom of the layers panel click on the mask icon, looks like a white rectangle with a round black circle in it. It should be down in the bottom right corner.

Next, make sure the layer mask is selected. If there are white lines around the outside of the mask (not the image thumbnail, it means the mask is selected.

Select the Brush Tool and make sure the foreground colour is set to black. Go down the tool bar and find the foreground and background colours. If white is on top click on the arrow above it to make it black (if other colors are showing hit D on your keyboard to set to the defaults of black and white).

How to Make a Sketch inside a Photograph

You could mask out the whole sheet of paper, or leave an edge around the image. For this tutorial, I left a border intentionally. Once you think you have gotten the whole image, press Alt (PC) or Option (Mac), and click the mask. You should then be able to see what you have masked – the black areas are the mask, so make sure there are no white spots left. Brush over any white bits and remove them. If you realize that you are painting white, then the foreground color is wrong. Press X and it will reverse the color so you can go back to painting with black.

How to Make a Sketch inside a Photograph

Putting the photograph back

Once you have the drawing showing through the paper, you need to make the photograph appear again. Click on the eyeball icon next to the image so it is visible. You will notice the whole drawing has disappeared, it is now behind the photograph. You will need to do another mask so you can see the drawing on the paper again.

The beauty of this image is that you can use the same mask that you used for the paper layer.

If you go to the layer mask that you used to show the drawing, press Ctrl/Cmd and click on the mask you will see it make a selection (marching ants around the selected areas). Press Ctrl/Cmd+C, to copy that selection. Then, make sure the photograph layer is selected and click the layer mask icon to create a new one. You should get a new layer mask the same as the other one. (Alternately you can click and hold Alt/Opt, and grab the layer mask from the paper layer and drag it over to the image layer. That will copy the same mask over for you).

How to Make a Sketch inside a Photograph

How to Make a Sketch inside a Photograph

It is time to remove the parts that don’t really belong. You can use the mask that you had for the hand layer. Use your brush tool and remember to make black the foreground colour. You can now mask out the parts of the hand that you didn’t mean to select when you did the quick selection (zoom in close, you can also use the refine edge function).

leannecole-drawing-tutorial-13

Fine tuning

The hand can look a little weird, so next you need to add a shadow that the hand would have created. This will make it more believable looking.

Add a new layer by clicking the icon at the bottom of the layers panel. It is the square outline with the folded corner, usually located next to the trash can. Alternatively, you can go to Menu > Layer > New Layer.

How to Make a Sketch inside a Photograph - new layer

You will need to use the lasso tool. It is also helpful to zoom in so you can see what you are doing. The zoom tool is also in the tool panel, or you can press the letter Z which will make it appear. Click the image to zoom in, or to zoom out press the Alt or Option key and click the image. (Note: Press B to get the brush back.)

On the new layer, draw under the hand with the lasso tool to get the shadow. You don’t have to be exact as it is not going to be really dark. Go up to Menu > Select > Modify > Feather. In the popup window enter the amount of feathering you want. 5 pixels was the setting selected for this image. Alternatively you can press Shift+F6.

How to Make a Sketch inside a Photograph

Add in the shadow area

Fill the selected area with black using the Paint Bucket Tool. Make sure that the foreground colour is black.

How to Make a Sketch inside a Photograph

You may need to add a mask to remove any parts of the hand that you don’t need. You can also change the opacity of the layer so the shadow isn’t as dark. The opacity slider is located at the top of the layers panel near the blending modes. Adjust to where you think the shadow looks natural.

How to Make a Sketch inside a Photograph

To deselect hit Ctrl/Cmd+D.

How to Make a Sketch inside a Photograph

The image is now done.

Conclusion

I don’t know how many of these you would do, but some of the techniques used to create it can be used for many other things. Try doing this tutorial a few times, then see how you can use some of the processes in different ways. Don’t forget to share your images so we can see what you have done.

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5 Tips for Portraits of Musicians That Will Help You Hit All the Right Notes

25 Oct

I’d like to share a few tips for portraits of musicians that will help you avoid the awkward photos that make any musician cringe.

portraits of musicians

Sometimes we are lucky enough as photographers to be asked to photograph someone with one of their most prized possessions: their musical instrument. Most people that want to be photographed with their instrument really and truly love it, and it’s a part of who they are. As a musician myself, I love photographs with gorgeous instruments in them, and I am especially bothered by photos that don’t capture those instruments naturally. Sometimes I’ll come across a photo that makes me cry out, “Why?? Nobody would EVER hold their instrument like that!!” You can still be creative with your photos without making them awkward.

portraits of musicians

1. Trust the musician

If you aren’t familiar with the instrument you’re photographing, it is especially important to trust the musician. This isn’t the time to try every posing trick that you can come up with, ending up with flutes on top of the head, or cellos held under the chin.

Ask your subject how they hold their instrument naturally. You can ask how they hold their instrument while playing, or when they’re relaxing between songs. If it’s a big instrument, like a piano, ask them how they would stand next to it before they perform, or how they sit by it when they’re thinking about what to practice. Ask them to demonstrate how they carry their instrument from one place to another. These might seem like silly questions, but you can really get a sense of what positions and holds are natural, then you can build from there.

portraits of musicians

As an example, a violinist may tell you that she holds her violin under her right arm when resting. You could take that position, ask her to sit on a chair in a formal pose holding the violin under her arm and get a beautiful portrait of a girl and her violin. The key is to remember that they are much more expert at how to naturally pose with their instrument than you likely are. However, if you do happen to know their instrument well, feel free to use your knowledge to get beautiful natural poses.

2. Do your homework

portraits of musicians

Before a session with a musician, you could watch some videos on YouTube to see how people interact specifically with the instrument you’ll be photographing. Find a professional musician who plays the same instrument. Look at their website to see what kind of photos they have with their instruments. You may have a client who is very shy and need more guidance posing, so it’s helpful to have a few ideas ahead of time. Be prepared for challenges that an instrument might bring, such as unwanted reflections in brass, immobility of harps or pianos, sensitivity to temperature or weather, and have a plan.

3. Ask the musician to play for you

portraits of musicians

If you can get your subject to give you a little performance during the photo session, you will get some great action shots. It usually helps loosen them up a little bit too, and brings out some natural smiles. Remind them that it doesn’t matter if they make mistakes because your camera doesn’t catch any audio. It will only capture the perfect moments of their playing. Also, remind them that you aren’t there to judge their skill, you just want to capture the relationship they have with their instrument. Move around as they play, and catch the beautiful moment from every angle you can, close, and far.

4. Get close-ups of the action

portraits of musicians

Hands are the main part of playing most instruments. Get in close on the hands as they play. These shots often end up being some of my very favorites. Try focusing on the hands as you shoot down the neck of a guitar, the fingers on a flute, or hands that are frozen in mid-air during a drum solo. Getting in close on these details can create beautiful action photos that really tell the story. If their hands are moving too quickly for you to focus, ask them to freeze for a moment in that position while you get the shot.

5. Make the instrument the star

portraits of musicians

Take a few photos of the instrument by itself, too. Musicians love their instruments, and they will love photos that show their beauty. Make sure to ask permission to touch their instrument, and to set it down, move it, or anything you might want to do for the shot that could potentially harm it in any way. You can even ask the owner to do all of the touching and moving, and you can move yourself around to get the photo that you want.

Tell the musician what you have in mind, and they will most likely be on board, and be happy to help you get some amazing instrument photos. Instruments can be extremely expensive, and even more importantly, can have sentimental value that can never be compensated. Keep this in mind throughout the session, whether your subject is in the photo with the instrument, or not. Never ask them to do something that could harm or damage the instrument.

portraits of musicians

portraits of musicians

Conclusion

Every time I’ve been asked to create photos for album covers for musicians, head shots for websites, art to print and frame, or just to capture someone’s favorite hobby, my goal is to create a photo that they will love. One that will stay true to what they would naturally do with their instruments.

I hope these tips can help you create beautifully genuine musician portraits too. I would love to see your musician portraits in the comments!

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Cluck Yeah! Two New Downtown San Francisco Fried Chicken Sandwiches!

22 Oct

New Fried Chicken Sandwich at The Bird
The Bird’s fried chicken sandwich offers a juicy, succulent piece of fried chicken complimented by a slightly sweet apple based slaw on a brioche bun.

New Fried Chicken Sandwich at Organic Coup
Organic Coup’s fried chicken sandwich offers a slightly larger piece of chicken with a tangy and spicy slaw with jalapeno on an equally tasty bun.

Downtown San Franciscans were treated to not one but two new fried chicken sandwiches this week in the heart of San Francisco’s Financial District. Two new restaurants, Organic Coup and The Bird are both located a mere 2 blocks off of Market Street. Organic Coup North of Market at 224 Kearny and The Bird South of Market located at 115 Montgomery.

The Bird is open Monday through Saturday from 11am to 10pm.

Organic Coup is open 11am to 3pm Monday through Friday for lunch.

Since who the cluck doesn’t like fried chicken sandwiches, I tried both this week and thought I’d write a few thoughts on each of these fine new chicken coops. My co-worker Sam Greene joined me (because birds of feather stick together) and I’ve added his thoughts on each section of this review.

Let the great San Francisco Cluck Off begin!

Organically Cocky at the Organic Coup
Organically Cocky at the Organic Coup.

The Bird, Fried Chx Sandwiches 200 Daily, #Cluck Yeah
The Bird, Fried Chx Sandwiches, 200 Daily #CluckYeah.

Waiting for a new fried chicken sandwich at The Bird
50 Deep in line at The Bird. Get there early and plan on a wait.

Ordering. (Winner: tie)

Although it’s probably not fair to compare the foot traffic at both of these restaurants on opening week, plan on spending a lot more time waiting for your chicken sandwich at The Bird than Organic Coup.

I arrived to a line already 50 deep at 11:10 am Friday at The Bird. The wait was approximately half an hour from start to finish. By contrast you get in and out of Organic Coup much faster. I went to Organic Coup on Wednesday and Thursday at 11:10am and there was no line. On Friday I went to Organic Coup after the Bird at around 11:45am and the wait still was only about 4 people for about 5 minutes.

Organic Coup had a very efficient ordering system. An order taker walks you through your order on an iPad. You make your designation side by side and then when you swipe your credit card the system automatically pulls your name and then uses your name to call you when your order is ready. The Bird offers a more formal across the counter cash register based system where they print out a receipt for you to sign. They do capture your name from your card as well though and use it to call your order.

Organic Coup has a sign up by the order taker that says no cash / no tipping. On their website they say that they are committed to paying their workers a livable wage and say that they “pay the highest wages in the industry.” With tax their sandwich is $ 11.

By contrast the Bird has you either write in or decline a tip on your credit card receipt when you sign. Their sandwich is cheaper at $ 9 with tax no tip.

I will write more on the whole tip no tip thing below, but I will say I liked the fact that Organic Coup doesn’t allow cash. Cash tends to slow things down and pretty much everybody has a credit or debit card these days.

I would clearly give the win to Organic Coup here based on the faster service, except for the fact that The Bird had a server come outside to the line and give everyone in the line a free sample of their clucking amazing ice cream sandwich, one of the best I’ve ever tried. Not only did they hand out free samples to the line, the guy handing out the samples came by afterwards to take everyone’s trash from the sample that was handed out. Such thoughtfulness and such an amazing treat made the line totally worth it. That was very smart. So the verdict here is a tie but both were pretty clucking great.

SAM’S TAKE:

Ordering (winner: Organic Coup)

I’m a big believer in the holistic evaluation process so it is hard for me to say which restaurant offers an absolutely better ordering system. I would start by saying the ordering systems are different. The Organic Coup offers a clucking-efficient iPad based self-service ordering system while The Bird offers the more traditional cash-transaction at the register system. I personally like the iPad self-service system much better for a few reasons. For starters, the pressure of having to field a barrage of questions at the counter is completely removed with the iPads. Additionally, what’s nice about ordering on the iPad is that it gives me a little more time to consider what options are available before making my selection. This way you don’t have to fumble over your words dictating your order to the cashier while you’re looking at the menu. Sure, it may be a bit awkward and anti-social to prefer the iPad system, but the reality is that ordering through the iPad is much easier and simpler for all parties involved and saves everybody a little bit of time.

However, since the fried chicken sandwich itself is a bit simpler at The Bird in that there is only a spicy and non-spicy option as opposed to an overwhelming assortment of sauces to add and choose from at the Organic Coup, I didn’t feel like the register-based system slowed down the ordering process significantly. Overall, I think the two are tied for the best ordering system. The Bird’s products don’t complicate ordering at the register, and Organic Coups iPad system nicely handles more complicated orders.

Cost (Winner: tie)

Sure the sandwich at Organic Coup is two clucks more, but the fact that there is no pressure to tip and apparently you can feel ok about not tipping because of the living wage thing, it sort of makes up for the extra cost. If you tip a buck at the Bird, the sandwich still comes in a dollar cheaper, but I’m sort of a fan of including gratuity in the price of a product which feels more like what Organic Coup is doing. It would be interesting to know how much each place pays their workers, but to me there’s not much difference between paying $ 11/no tip or $ 10 or $ 11 with manual tip.

Atmosphere (Winner: tie)

Both sandwich shops feel really nice although just a little crowded. Organic Coup feels a little more like a chain/corporate (and with multiple locations it sort of is) vs. the pop up feel of The Bird. The Bird (which is in the space that the old Melt use to use) has some seating which is nice if you want to eat your sandwich there. Seating is very limited, but at least they have some. I usually take my lunch to go though so seating didn’t matter to me. The Bird offers you a water cup which is nice. Organic Coup is more open and airy and light in my opinion — both are very nice and clean.

Both restaurants had people with menus outside greeting you. Both restaurants had friendly employees. Both restaurants were marketing with the San Francisco “Cluck Yeah” tag line sure to appeal to millennials everywhere. The Bird uses a hashtag based #CLUCKYEAH while Organic Coup chose to go with an exclamation point based CLUCK YEAH!

SAM’S TAKE:

Both shops were nice, clean and up to snuff. However, I feel like the Bird may have a slight edge in the overall atmosphere. Fist and foremost, the Bird has a larger space that is big enough to offer counters, seating, and complimentary water and bathrooms. Keep in mind though that around 11:00am when we went the place was hustling and bustling so it was difficult to find a place to stand and lean let alone sit and dine, so if you’re looking for a place to enjoy a leisurely meal I would look elsewhere. That being said, the fact that seating is available for less rushed and frenzied times during the day is a huge plus for me.

In contrast, the smaller, more cooped up space at the Organic Coup (no pun intended), did not feel large enough to adequately handle the 11:00am rush of lunch-goers who inevitably end up waiting on the sidewalk. Granted, the line at the The Bird wound around the block as well when we went — however, once all the hype dies down from the opening weeks for each location I think The Bird will be more attractive to a larger percentage of the lunch-going population since it does offer a place to sit. In light of all that, the smaller space offered by the Organic Coup is nice in that it sort of naturally moves folks along in and out of the building faster since nobody likes to stand around in claustrophobic, shoulder-to-shoulder, tight-knit spaces for long. If your intention is to grab your food and go, the Organic Coup is perfect. However, given the choice, I would rather have the option to sit and schmooze over a quick bite with a co-worker than feel rushed in and out of the place.

Secondly, the Bird felt like it actually had a personality. The interior design maintained what appeared to be the original look and architecture of the establishment that preceded The Bird. As a matter of personal preference, I thought it was nice that The Bird chose to maintain the integrity of style rather than give it a radical makeover to conform to the recognizable and modern look. There is an aura of traditional, classic fried chicken sandwich shop that emanates from the old-school single-letter-insert-menu hanging down from the ceiling. Overall The Bird presents itself as more of unique local, self-sufficient, one-of-a-kind joint while the Organic Coup is more of a modern and contemporary fast-food chain.

I have to hand this one to The Bird.

Nutrition (Winner: Organic Coup)

Organic Coup markets itself as America’s first USDA certified organic fast food restaurant. What’s more, they provide you with calorie nutritional information on their website. According to their website their Chicken Sandwich is 500 calories. For such a big fried sandwich I almost can not believe it is only 500 calories. They also offer a bowl, which is more like a fried chicken salad, with only 320 calories. For someone like me trying to maintain my sleek physique, those numbers are very reasonable and I appreciated that they shared them with me on their website.

The Bird does not provide nutritional information on their website. Based on the taste of their sandwich though (and the fact that it has mayo on it), I’d suspect it’s more than 500 calories.

SAM’S TAKE:

I have to agree with the Hawk here. I think it’s clucking-smart that the Organic Coup makes an effort to disclose nutritional facts on its website to its frequenters. In the age of the IoT, information is data and data is power to the consumer. As a consumer, I feel clucking-empowered by nutritional information in what I’m choosing to buy and eat, even though the information may not necessarily ultimately drive my decision. For example, I may find that the Organic Coup is less calories than The Bird, but I may still like the bird better since it has those incredible pickles. Merely the fact that Organic Coup openly shares with us the nutritional facts so transparently makes me more trusting of them as a restaurant regardless of whether or not their sandwich is any healthier, less caloric or has overall more nutritional value than The Birds. Props to Organic Coup on this one.

The Sandwich (Winner: The Bird, by a beak)

First off, I have to say I liked both sandwiches. I will definitely be back to both in the future.

Organic Coup’s sandwich reminded me very much of one of my favorite East Bay secrets, the fried chicken sandwich at Bakesale Betty’s in Oakland only on a tasty bun instead of a roll. Organic Coup uses a vinegar based slaw with jalapenos in it just like Betty does. This is also the base for the slab of fried chicken that they serve with their bowl (which is more like a fried chicken slaw salad) and it is clucking delicious. You get a choice of four sauces for your bowl/wrap/sandwich. I got my sandwich with the vegan mustard vinaigrette sauce. The sauce was good but the irony that they were marketing my choice of sauce as “vegan” when I was eating a fried chicken sandwich was not lost on me. The spicy BBQ sauce seemed the most popular.

Organic Coup’s piece of friend chicken felt a little bit bigger to me than The Bird’s and hangs out of both sides of the sandwich.

As much as I enjoyed Organic Coup’s sandwich, The Bird edged it out here by a beak. Given the mayonnaise on the sandwich it definitely made it taste a bit richer. More than the mayonnaise though the chicken itself was more tender, flavorful and succulent. The Bird’s bird was a juicy, flavorful, delicious piece of mouthwatering bliss. The Bird’s sandwich had less slaw than Organic Coup’s but the slaw itself was a cabbage-onion-apple based slaw which gave it just the slight amount of sweetness that went perfectly with the spicy flavor. It also had Super Duper pickles on it which added a nice finishing touch.

The Bird had two versions of their signature sandwich, spicy and non-spicy. I of course opted for spicy and I’m glad I did.

SAM’S TAKE:

The Sandwich (The Bird, it was beak-and-beak the whole way through)

Both places offer un-clucking-believable fried chicken sandwiches. Both offer great, high-quality sandwiches sure to satisfy any afternoon deep-fried craving San Franciscan dropping by for quick bite to eat. The Bird differentiates itself from the Organic Coup in a few notable ways. While both offer delicious crunchy deep fried gustatory experiences, The Bird seems to let their birds simmer a bit longer in the pan allowing a thicker, deeper-fried coat to form. The deeper-fried coat made it all the more delicious and rich, though perhaps slightly less healthy. Additionally, the sandwich served at the Bird championed an artfully infused African Berber spice in the batter that was a flavorful and interesting homage to the origins of the fried chicken sandwich.

The coleslaw prepared at the Organic Coup offered more intense, spicier coleslaw than The Bird though. It beautifully complimented the spicy BBQ sauce served with the sandwich that I had chosen. Additionally, the Organic Coup offered a much larger chunk of chicken than The Bird which made me feel like I was getting better value for the two extra clucks I paid.

However, although Organic Coup made an eggs-ellent final product, the bird at the The Bird was slightly more succulent and juicy than at The Organic Coup. I’m pretty sure there was an element of marketing responsible for this perception though. Since I knew in advance that the Bird only made 200 sandwiches a day for the lunch crowd I think I was primed to believe they put more TLC, attention and energy into making each sandwich perfect than the Organic Coup. Upon deeper reflection, however, I do not think the modern fast-food nature of the Organic Coup takes away from the quality of their artfully though more industrially crafted sandwiches. It was just an observation I made when writing this review. I simply think I got a bit luckier at the Bird at the time I went in regards to the juiciness factor of the chicken. All in all, The Bird stood out to me as overall slightly tastier due to the tenderness of the meat and the deliciousness of the deep-fry recipe despite its shortcoming in size compared to the Organic Coup.

The Logo (Winner: The Bird)

Very hipster San Francisco looking fox with a chicken sandwich in his mouth, would also look good on a Bon Iver album cover.

I didn’t really get into the extras beyond the fried chicken sandwiches in this review, but it is also worth pointing out that The Bird sells beer which may be a plus for some while by contrast Organic Coup offers fresh squeezed lemonade. I have a general rule that I don’t consume alcohol before 6pm so I can’t imagine having a beer at lunch, but for more thirstier friends that might be a good option to know about.

The bottom line is both of these new fried chicken sandwiches are abso-clucking-lutely delicious. So the next time you and your cluck buddy get a craving for some fried chicken sandwich for lunch try one of these two hen houses. You won’t be disappointed and you might even get a free sample of some ice cream sandwich to go with it.

Cluck Yeah!
Cluck Yeah with an exclamation mark instead of the hashtag.

No Cash, No Tips
No Cash and No Tipping at the Organic Coup.

Organic Looks Good on You
Organic Looks Good on You at the Organic Coup.

Lemonade at the Bird
Fresh Squeezed Lemonade at Organic Coup.

The Organic Coup
Standing outside Organic Coup on Kearny Street.

The Bird, Fried Chx, Beer
Interior shot of The Bird.


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An Introduction to Photoshop Layers Possibilities and Properties

21 Oct

When Photoshop was first introduced to the world in 1990 it could only do the most basic of image editing tasks such as clone a selection, crop a picture, and work with some filters such as Blur, High Pass, and Sharpen. However, for its time it was incredibly advanced and the ability to work with digital pictures in this manner was practically unheard of for desktop computers, most of which were still using black and white screens. It wasn’t until late in 1994 when version 3 hit store shelves that the program included a key feature which continues to be the foundation for nearly all image editing programs to this day – layers.

Understanding how layers work is essential for anyone who wants to upgrade from a program like Apple Photos or Microsoft Pain. But learning how to use them with all the hundreds of icons, buttons, and menu options competing for your attention in Photoshop, can seem completely overwhelming. Getting the hang of a few basic concepts will set you on your way to image editing success, and help you figure out many of the other options Photoshop has to offer as well.

photoshop-layers-couple

Basic concept of layers

To wrap your head around the concept of layers, think back to when you were in grade school and your teacher worked out math problems on an overhead projector. She probably started with a sheet of transparent plastic that had equations printed on it and then used a washable marker to perform the required multiplication, division, or other operations to solve it. The bottom layer, the transparency itself, never changed but the teacher was free to alter what students saw on the projector screen by writing on top of the acetate layer.

You could even stack transparencies on top of one another and end up with a background layer and a few plastic sheets stacked on top of it. Each layer could be drawn or written on which would alter the final image shown to the students on the projector screen. But the layers existed separately from one another and could be edited individually without affecting the actual content of the underlying or overlying layers. Layers in Photoshop function in much the same way.

First layer – Background

photoshop-layers-background-only

When you open a picture in Photoshop the first thing you will see in the Layers panel is a background layer with a small thumbnail of your image on it. It’s always given the label “Background” and on the right-hand side of the panel is an image of a padlock. Photoshop uses this icon this to indicate that the image is to be the foundation on which all future edits are built but the picture itself is not to be altered.

It is the transparency sheet that your math teacher would write on; the edits and other operations you can perform on it are stacked one on top of the next, but the bottom layer is sacrosanct and never to be changed. Icons that let you adjust opacity, fill, blending mode, etc., are grayed out so you might be wondering just how to actually edit the picture. One place to start is by right-clicking on the background layer and choosing the “Duplicate Layer” option.

photoshop-layers-background-and-duplicate

Duplicate layers

As soon as you create a copy of the Background layer a whole new world of creative possibility opens up. You now have access to tools like Opacity and Fill, you can change the Blend Mode, add Layer Masks, and hundreds of other options as well. The choices are staggering, and it’s important to remember that there is no one correct way of using layers in Photoshop. Each photographer has his or her own approach, and what works well for you may not be good for someone else. So don’t get caught up thinking you have to use a certain process when working with layers or anything else in Photoshop. The important thing is to find a solution that works for you.

How layers work

To dive a little deeper into the concept of layers and illustrate how they work, I’m going to start with the image of the husband and wife above. I’ll remove them from the garden in which they were photographed, and insert them into another location (new background). The first issue when doing any type of edit like this is that your computer doesn’t know that the people are separate from the background. It treats everything as one cohesive image but you can use layers in Photoshop to separate, remove, add, and otherwise edit the various parts of the picture.

quick-selection-tool-3In the image above, the subjects are clearly distinct from the background with highly contrasting colors so an operation like this is pretty straightforward. But if your subjects blend in a little more with the foreground or background it can get a little tricky. Press the “W” key to access the Magic Wand tool. Then click [shift]+w until you end up with the Quick Selection tool (or you can access it on the toolbar see the screenshot to locate it). Now click and drag the Quick Selection tool around your subjects until they are outlined with a cycling dotted line that looks like black and white ants marching in a loop.

photoshop-layers-couple-selected

Refine the selection

If you try this operation and you aren’t quite getting your subjects selected how you want, you can use the Refine Edge (Select > Refine Edge in older versions, Select > Select and Mask in the newest Photoshop CC 2015.5) option to get your selection precisely how you need it. Once you are satisfied with your selection, choose Layer > New > Layer via Copy (you can also use the keyboard shortcut Cmd/Cntrl+J) and you will now see a third layer on the layer panel consisting of just the subjects and nothing else.

photoshop-layers-couple-no-background

Now the real fun begins! Click the eyeball icon to the left of all the layers except the new one with just your subjects and you will see everything else disappear.

photoshop-layers-couple-blank-background

How Photoshop sees layers

Pause for a moment and consider what is happening here. Your computer now sees the image not as one cohesive whole, with two people in front of a meadow, but as two distinct layers. One is a layer with just the people and the other layer below that is the background (the meadow). Technically there is a third layer, the locked background layer, but we’re ignoring that since we don’t do anything with it.

Add a new image as a new layer

To move the people to a different location all you have to do is insert an image as a new layer and place it below the layer with just the people. For this example, I’m going to put the couple in front of a photo I took with some trees and a bridge crossing a stream.

photoshop-layers-bridge

In Photoshop you can drag and drop images directly into your composition or use the “File > Place” command. When I insert the image of the bridge into the document with the couple I now have a new layer that I can manipulate like all the rest. You can also start to see the vertical structure of layers and how they are mixed together.

The Layers panel functions from a top-down perspective in that whatever layer is at the top of the panel is literally the top-most layer in the entire composition. Layers below it are arranged in descending order. In this example, it’s essential that the layer with the two people appears as the top-most layer in the Layer panel itself, followed immediately by the new background.

photoshop-layers-couple-bridge

Voila! The couple now appears in an entirely different location, all with just a few mouse clicks in Photoshop. If you are still trying to wrap your head around the concept of layers, here’s an extruded view of what you are seeing in the above image.

photoshop-layers-3d-breakdown

Cover your bases, keep all layers

I could remove the bottom layer entirely but I left it in place because I don’t like to delete any layers when making a composite image like this. You never know when you might need to go fetch an errant strand of hair that you overlooked from the original layer, or use it for a bit of color correction later on down the line. If I want I can add more pieces to this image just by using layers and stacking things on top of each other, and using layer masks to refine and edit things even more.

You can also edit the new background separately from the people such as adding a blur effect or desaturating it slightly. If you convert to a Smart Object any editing you do on that layer can be altered or changed later. But if you apply it directly to the layer it cannot. Make sure to match color balance when combining images for a more realistic look.

layers-photoshop

Additional adjustment layers have been applied to the background to shift the color, blur it in some areas, and darken the edges.

Conclusion

This type of switch-out-the-background edit is just a small taste of what you can do when using layers in Photoshop. Add empty layers by going to “Layer > New > Layer” and then using the Brush or other tools to start creating in them. You can re-order layers by clicking and dragging them up and down in the Layers panel. You can show and hide layers, adjust the opacity of a given layer, choose how one blends with the layers below it, and even create special Adjustment Layers that you can use to edit colors and add effects to other layers.

I have only scratched the surface of what layers are capable of doing. Hopefully this gives you a basic understanding of what this powerful feature is all about. Do you have any tips or tricks for using layers that I missed? Please share them in the comments section below.

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