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Posts Tagged ‘Photoshop’

How to Make a Composite Wine Bottle Image using Photoshop Layers

19 May

A wine bottle is always a tricky subject to photograph. The highly reflective nature of the glass makes it hard to use frontal lighting, while backlighting will not reach the label.

In short, the perfect light for the glass will usually not work for the label and vice-versa, often leading to the capture of various images that are later on composited in post-production, creating the final image in this manner.

Photograph wine bottle composite

In this article, I will show you step-by-step, how this image was photographed and composited using Photoshop.

Image capture

This image was photographed with a full frame DSLR, a 100mm macro lens, and two speedlights.

wine bottle photograph seen in the camera - How to Make a Composite Wine Bottle Image using Photoshop

One of the speedlights was fitted with a yellow filter, this provided the background light. The other speedlight was fitted on a stripbox and provided the light on the bottle in different positions for different shots.

Light areas

Planning ahead and deciding which areas to light are key factors for the success of the final image composite.
In this particular image, the areas that were lit for each image were as follows:

  • The label
  • Gold logo
  • The embossed letters
  • Light side light
  • The background

Photograph wine bottle composite 03

None of these images look good by themselves, but each adds its own contribution for the final result.

Raw image development

This is the stage where the Raw images are processed and the basic adjustments are applied. I start by adjusting the “background” image which will be the base for the composite.

Even though the yellow filter used on the speedlight created a nice warm tone on the image background, I decided to make that tone even warmer, adjusting the yellow and green hue to orange, giving it a vintage ambiance.

Photograph wine bottle composite 04

The compositing process

After developing the RAW images, it’s now time to start merging all of the different images.

I start by opening the “Background” image and giving it some basic corrections, like completing the right edge reflection with the clone stamp.

Photograph wine bottle composite 05

Next, I load the “Embossed Letters” image as a new layer that will stay on top of the “Background” layer and start the compositing process. For this process to work, it is imperative that all the images have the same framing and neither the camera or the object is displaced between shots.

Layers and masking

Even though there are many ways to create a composite in Adobe Photoshop, my favorite, and the one that allows more control, is the layer mask function.

This masking process hides parts of the image while revealing the information that exists on the underlying layer. Just click on the layer mask icon in the layer panel, and a mask will be added to the selected layer. It might look complicated but it is, in fact, a simple process.

White areas of the mask show what is on that layer, black areas show what is on the underlying layer (think of it as a hole you look through to see the layer below).

Photograph wine bottle composite 06

In this particular case, it is easier to invert the mask from white to black (Image>Adjustments>Invert) and paint in the areas you want to reveal from that layer by using a white brush.

The exact same process was applied to the “label” and “gold Logo” layers. The “Left Side Light” layer was used to create just a fine rim light on the left edge of the bottle and give it a better separation from the background.

Photograph wine bottle composite 07

Refinements

Now that it all starts to look much better, with all the bits and pieces that were used from each layer to form the composited image. So it is time to pay attention to the small details like small imperfections on the bottle, smudges or dust specs that may need to be fixed.

Photograph wine bottle composite 08

A higher zoom (100% or 1:1) will likely reveal problems that need to be solved.

The icing on the cake

Even though I could consider the image editing process finished by now, there is still a small but really important detail in my opinion – the table’s smooth wooden texture was not the right fit for the look I was trying to achieve.

So, the right thing to do was to photograph an old beat up piece of wood that would fit the look of the overall image and replace the existing tabletop.

Photograph wine bottle composite 09

Now I load it as a layer on the final image and use the perspective command (Edit>Transform>Perspective) to adjust the flat wood image to match the perspective of the tabletop.

Photograph wine bottle composite 10

And for the final touch, I changed the blending mode of the “Wood” layer to darken, in order to make it blend smoothly with rest of the scene.

Photograph wine bottle composite 11

Final thoughts

Even though I always try to get things as right as possible during the photography process, and leave as little as possible for the post-processing phase, the truth is that this compositing technique amazes me every time I try it. It is incredible the amount of detail control it offers.

Give it a try, I am sure you will be amazed too.

The post How to Make a Composite Wine Bottle Image using Photoshop Layers appeared first on Digital Photography School.


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How to create the disintegration effect from ‘Infinity War’ in Photoshop

09 May

Photoshop tutorial website photoshopCAFE has published a timely new tutorial that demonstrates how to create the disintegration effect from Marvel Avengers: Infinity War in Photoshop. The tutorial—which is also available in written form—is a bit of a spoiler if you haven’t seen the movie yet, though it’s not a substantial one.

The tutorial is fairly short with only 13 steps total, and photoshopCAFE’s Colin Smith says he’s tried to add a bit of his own spin to the usual ‘dispersion effect’ tutorial (which you can find all over YouTube).

“I have put my own twist on it with the person turning into waves of particles as if they are being turned into dust,” explains Smith. “I call this the particle disintegration effect.”

Check out the video up top to learn this trick for yourself, and then head over to the photoshopCAFE website or subscribe to the YouTube channel if you want to see more of Smith’s retouching and photo-editing tutorials.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe Photoshop Express update brings perspective correction and vignetting

08 May

The Android version of Adobe’s popular mobile image editing app, Photoshop Express, has just received an update expanding the feature set with a few useful new functions.

Perspective Correction lets you correct converging lines and other types of perspective distortion. You can select a Full Auto setting or pick vertical or horizontal skew. The correction is then applied and fine-tuned using a slider.

Some type of vignette effect is available on most editing apps out there, so it’s about time the feature has made its way to Photoshop Express too. You can adjust the diameter of the vignetting effect by pinch-zooming and set the intensity on a slider to create the final result.

Additionally, it’s now also possible to share multiple images directly from the gallery, and change wallpaper and profile pictures directly from the app’s share screen.

The new functions are welcome additions to the app’s already quite extensive feature set, making Adobe Photoshop Express worth a closer look for anyone who edits images on a mobile device. The latest version of the app can be downloaded free of charge from the Google Play Store now.

Articles: Digital Photography Review (dpreview.com)

 
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Tutorial: The best way to sharpen portraits in Photoshop

03 May

Sharpening plays an important role in influencing how the human eye interprets a photo and it is the only way to create the illusion of higher definition and detail. Also, much like we use light, color, and composition, it is an extremely effective way to guide the eyes of the viewer to wherever you want them to focus.

The first question to ask isn’t how to sharpen but when to sharpen. Any retouching, compositing, coloring, and any other edits you’ve made should be included in the sharpening process. So make sure that it’s the final step in your workflow just before you export! It’s important to note that you’ll want to resize your images beforehand as well. Resizing an image that has already been sharpened can have adverse effects such as reducing or exaggerating the amount of sharpening.

For example, if you want to upload one of your latest photos to Instagram, first resize your image to 1080 x 1080 pixels (their recommended dimensions for square images). Then go through the sharpening process as normal. Doing this will guarantee that your image quality will be consistent no matter what size your image is or where it will be displayed.

To begin the sharpening process, create a new layer, go to the Image menu, and select Apply Image. Apply Image will take all of the visible layers in your project and merge them together onto the new layer. This will allow you to sharpen your final image (including all of the edits you’ve made) without affecting the originals.

As far as technique goes, there are many ways to sharpen an image. I’ve always preferred the High Pass method which involves converting the new merged image into a Smart Object and then using a High Pass Filter to apply the sharpening effect. Since we’re working with a Smart Object and a Smart Filter, we can always go back to make changes to the radius by simply double-clicking on the High Pass option underneath the layer.

My favorite thing about this technique is just how flexible and precise it can be! If I ever need to make changes to the amount of sharpening I can either duplicate the sharpening layer (for a subtle adjustment), change the radius of the High Pass Filter, raise or lower the opacity, or simply paint with the Brush Tool on the layer mask.

Using Layer Masks, you can apply different levels of sharpening to different parts of a photo. You can have a sharpening layer just for facial features and a second for wardrobe. Create as many layers of sharpening as you need to get the look that you want. Overall, focus your sharpening on aesthetic details in your photo—hair, eyes, jewelry, details in clothing—anything that you want to stand out. Avoid sharpening things that might distract the viewer or bring out details you don’t want to be as noticeable (i.e. pores).

Like most things that we’ll do in Photoshop, sharpening is highly subjective. It’s up to you to determine where and how much to sharpen. And while we use a portrait as our example, this method works across all types of photography! This is a process I’ve developed over several years and it has served me well. So give it a try! I only hope that it helps you figure out your own favorite method that’s best suited for you and your work.


About the Author: For over seven years, Aaron Nace has been teaching photography and photo manipulation on PHLEARN.com to millions of users across the world at every skill level. You can subscribe for his professional videos or view the Photoshop tutorials as well.

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How to Make Custom Camera Raw Profiles for Lightroom & Photoshop

29 Apr

Adobe just released a huge update to Camera RAW for Lightroom and Photoshop, which includes the ability to make creative custom camera RAW profiles!

Above is a video tutorial showing you how you can make your own creative RAW profiles for Lightroom and Photoshop, and below I’ve also detailed the process with photos so you can follow along and get started making your own RAW profiles.

Here’s a closer look at the process detailed in the video.

Getting started

To start, you need to open a RAW file into the Camera RAW Plugin for Photoshop. To do this, copy a RAW file to your desktop, and then either right-click the file and choose to open with Photoshop, or while in Photoshop, use the File > Open menu option to locate and open the RAW file (or just double-click it inside Bridge).

Custom camera raw profiles 001

Custom camera raw profiles 002

Ideally you’ll want to choose an image that’s appropriate for the type of look you’re going to create for your profile. For example, if you plan to make a profile for your landscape images, use a RAW file of a landscape for this process.

Make your desired adjustments

Regardless of the image you choose, once you have the image open into Camera RAW you need to create the look you want for your profile.

Custom camera raw profiles 003

You do this using any/all the tools and sliders available in Camera RAW. In the example in the video, I made some adjustments to Split Toning and the point Curve.

Custom camera raw profiles 004

Custom camera raw profiles 005

So my image now looks like this:

Custom camera raw profiles 006

Create your profile

Your look will, of course, be different. But regardless of that, once you’ve created the look you want for your profile, go to the “Presets” tab of Camera RAW.

Custom camera raw profiles 007

At the bottom of the Presets tab is a little icon for creating a new preset.

Custom camera raw profiles 008

To create a new profile, hold down either the Option key (MAC users) or the ALT key (WINDOWS users) while clicking the new preset icon.T his will open the New Profile dialog box.

Custom camera raw profiles 009

You’ll want to name your new profile, just type into the first box at the top.

By default, any sliders/adjustments you’ve made in Camera RAW will be checked in the list below (notice in the example that Split Toning and Point Curve are pre-checked to be included in the profile.)

If for some reason you don’t want an adjustment included in your profile, you can just uncheck that adjustment.

After naming your profile and making any changes to included adjustments, click the “OK” button to save your profile.

How to find and use your new profile

Custom camera raw profiles 010

Back in Camera RAW in Photoshop, you can now navigate to the Basic panel and click the “Browse” icon (circled in red above) to expand the profile browser.

Custom camera raw profiles 011

At the bottom of the browser, you’ll find your new user profile!

The new profile will also be available in Lightroom. However, if you had Lightroom open while you made the new profile, you’ll need to close and relaunch it to reload the profiles.

Once Lightroom is open, go into the Develop Module, expand the Basic panel (if it’s not already expanded), and click the same browse icon that you saw in Photoshop.

Custom camera raw profiles 012

That will expand the profile browser which will look nearly identical to the one in Camera RAW for Photoshop. Then just click to select your new profile when you want to use it on an image.

In either Lightroom or Photoshop, just click that browse icon again to close the profile browser after you’ve made your profile selection.

And that’s it. You’ve now made your very own RAW profile!

Take it a step further

Now, you can stop here, and use this process to create as many profiles as you need to streamline and speed up your editing workflow. But there’s more you can do when creating your custom profiles, and this has to do with LUTs.

If you already don’t know about them, LUT is an acronym for Look Up Table, and it’s a way of manipulating the colors in your image. What LUTs do is remap the colors of your image according to the instructions in the LUT.

For example, you might have a LUT that remaps all instances of the color blue into the color red. When that LUT is applied to your image, anywhere the color blue appears, it will now be red. That’s a very simplified explanation of LUTs, but it gives you the general idea of what they do.

If you don’t care about LUTs and you don’t plan to use them, you don’t need to go any further. But if you do use LUTs and want to include them in your profile, here’s how to do it.

Using LUTs

First, you need a LUT. You can either include a LUT you get from somewhere online or create your own. I can’t go into detail on creating LUTs here, as that’s an entire topic on its own, and there are too many methods for creating LUTs to cover. If you’d like to see one example of how to create a LUT, I’ve included an example in the video above.

Regardless of where you get your LUT, it should be a “.CUBE” file

With your LUT file ready and saved somewhere you can find it, open a RAW file into Camera RAW as detailed above.

With your image open in Camera RAW, the very first thing you need to do is change the RAW profile. The default new is Adobe Color, so you need to change that to Adobe Standard (the previous default profile before this latest update).

Custom camera raw profiles 013

The reason you have to do this is that you need a profile that doesn’t already have a LUT so that you don’t have two different LUTs in a profile conflicting with each other. Prior to this update to Camera RAW, profiles didn’t include LUTs, so using Adobe Standard makes sure there is only one LUT in the profile you are about to create.

With Adobe Standard selected, you can now make any other Camera RAW adjustments you want to include in your profile, just as you did above. After making those adjustments, go to the presets panel and open the New Profile dialog by holding Alt/Option and clicking the “New Preset” icon at the bottom of the window (as detailed above).

With the dialog open, name your preset, and then down near the bottom, click the “Load Cube File” option. With the option highlighted, click it again to open the file browser.

Custom camera raw profiles 014

Find your “.CUBE” file and load it. Once it’s loaded in, you’ll notice some options in that section are now available to edit. The most important options are the Min, Amount, and Max options.

Custom camera raw profiles 015

These options correspond to the Amount slider you get with a creative/user created profile applied to an image.

Custom camera raw profiles 016

This amount slider is ONLY available for creative/user-generated profiles, and this slider changes how intensely the profile is applied to your image.

The slider always defaults to 100. This is the baseline whenever you apply a creative profile. To adjust the intensity of the profile on the image, you can decrease the slider down to a minimum of 0, or increase it to a maximum of 200.

Moving the slider up increases how intensely the profile is applied to your image, and decreasing it, in turn, decreases how intensely the profile is applied.

Now, back to the Min, Amount, and Max settings. These three values correspond to the values of the amount slider.

  • The Min value corresponds to the Amount Slider value of 0.
  • The Amount value corresponds to the Amount Slider value of 100.
  • The Max value corresponds to the Amount Slider value of 200.

What this means is that you can set the intensity levels of the Amount Slider for applying the LUT to your RAW file by adjusting the Min, Amount, and Max values.

Here’s an example. Let’s say I have a LUT, that when applied to an image with no adjustments, makes the image look like this:

Custom camera raw profiles 017

When creating the profile using this LUT, if I leave the Min, Amount, and Max values at their defaults (0, 100, 200), then when I click to apply that profile, by default, my image will look very similar to what you see above.

Custom camera raw profiles 018

If however, I want to change the intensity of the LUT so that when the profile is applied that it looks like this by default:

Custom camera raw profiles 019

I would change the “Amount” value in the “New Profile” dialog to 30. (I’ll explain how I arrived at the value of 30 in a moment.)

When changing the “Amount” value, you’ll also want to consider changing the “Max” value. If you leave the “Max” value at 200, the Amount slider will still work for the profile, and when set to 200, the look will be twice as intense as when the LUT is applied with no changes to intensity (as detailed above).

Custom camera raw profiles 020

If you change the “Max” value to 100, then when the slider is at 200, it will look similar to having the LUT was applied with no changes to intensity.

I know this is a little confusing. What’s important to understand is that by adjusting the Min, Amount, and Max values, you’re setting the default for how the LUT is applied to the image with the profile, and the range of how the LUT will be applied to the image with the Amount Slider.

Now, I came up with the value of 30 by experimenting when creating the profile and the LUT that I used to include in that profile (the process is detailed in the video).

Unfortunately, the process in the video won’t be very helpful unless you create a LUT using the exact same process.

Instead, what I recommend to determine the value you’ll want to use, is to first just create the profile with the LUT and leave the Min, Amount, and Max values alone.

Then, apply that profile to one of your images. If by default the look is too intense, use the Amount slider to reduce the intensity until it looks the way you’d like it to look by default.

Once you’ve found a slider value you’re happy with, make note of that number. For instance, if you reduce the Amount slider to 25, write that down.

Then, go through the process of creating the profile again. This time, when you include the LUT, set the Amount value to 25, and the Max value to 100.

Now, with this new profile applied, by default, it’ll look like you want it without having to make adjustments to the Amount Slider. (This will, of course, vary from image to image, and you’ll likely make some Amount adjustments, but this will give you the baseline you want to start with.)

With this done you can then delete the profile and continue on using your now optimized profile with embedded LUT!

Conclusion

That’s how you create your own custom Camera RAW profiles, and how to include LUTs in them! If you have any questions let me know in the comments below.

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Raya Pro Photoshop Plugin – How to Simplify and Speedup Your Workflow

24 Apr

For a long time, my solution for a faster workflow was to create my own Photoshop Actions. But in the last couple of years, I’ve implemented another third-party software into my workflow, the Raya Pro Photoshop plugin.

The challenge

Let’s face it, Photoshop can be an overwhelming and time-consuming photo editor. However, it’s also one that plays an important part in most photographer’s work. Either they use it for simple color corrections or more advanced techniques, most professional photographers put their images through Photoshop at some point.

I’ve been using Photoshop for the last 10-or-so years, so I would say that I’m pretty familiar with the software. My biggest challenge, or rather annoyment, since I started using Photoshop was the fact that several of the techniques I used took a lot of time to create. Even if I’m only talking about a few minutes, it accumulates when I use it several times in each picture, and I process several pictures a day.

Raya Pro Photoshop Plugin - How to Simplify and Speedup Your Workflow

I’ve used a Luminosity Mask to create local adjustments to the highlights in this image.

What is Raya Pro?

Spending time repeating the same techniques over and over again can be quite demotivating and even lead to you being sloppy in your post-processing. That’s why Raya Pro has become a part of my workflow. It’s a Photoshop Panel which allows you to make several advanced and professional-looking techniques with a simple click.

It’s a tool that’s useful for both experienced Photoshop users (to save time) and complete beginners (to learn to create professional effects).

Raya Pro consists of seven panels:

  • Raya Pro HUB
  • InstaMask
  • Precision Mask
  • Quick Blend
  • Colors
  • Dodge & Burn
  • Filters/Finish

Raya Pro Photoshop Plugin - How to Simplify and Speedup Your Workflow

Each panel contains several Actions which you easily can use to create professional-looking effects or techniques, such as Luminosity Masks, Dodging & Burning, the Orton Effect and Web Sharpening.

Most Important Features

I’m not going to lie and say that it doesn’t take some time to understand all seven panels. It’s quite a lot to get into but along with each panel, there’s a button that takes you to a series of video tutorials specifically for that panel. These tutorials are easy to follow and if you’ve already got some knowledge of Adobe software, it won’t take long for you to master the panels.

While it may seem a bit overwhelming, you’ll most likely not use all the Actions. In my experience, you’ll find a handful of Actions you use on a regular basis and mostly stick to using those. Let me make it a little easier for you and point out the ones I use in my workflow.

Exposure Blending & Luminosity Masks

One of the main features and uses of Raya Pro is to easily blend multiple images and create Luminosity Masks. (If you’re not familiar with Luminosity Masks I recommend reading this article by Raya Pro creator and dPS writer Jimmy McIntyre).

Raya Pro Photoshop Plugin - How to Simplify and Speedup Your Workflow

There are three ways to blend images with Raya Pro:

  1. With the QuickBlend Panel
  2. Using the Precision Mask Panel
  3. With the InstaMask Panel

The easiest option is to use the QuickBlend Panel. Here you can simply blend multiple exposures with one single click. However, being the easiest it’s also the most restricted so you might need to tweak it a little for optimal results. That being said, it does a good job most of the time.

The Precision Mask Panel is slightly more advanced and is divided into three sections: Exposure Blending, Color Zones and Fix Dark Blend. With this panel, you can create precise masks and further refine them by subtracting a specific color from your selection, for example.

InstaMask is the most advanced of the three but also the most flexible. Its main purpose is to create Luminosity Masks so if you want to do exposure blending you’ll need to create and apply the masks. This is my preferred panel as I’m able to further refine selections and apply either apply them to a mask or use them to create an adjustment layer.

Dodge & Burn

While creating a Dodge & Burn layer doesn’t take much time, it’s an effect that I often apply multiple times on an image; which is why I prefer having an Action (or Raya Pro) to create it quickly.

Raya Pro Photoshop Plugin - How to Simplify and Speedup Your Workflow

The Raya Pro Dodge & Burn panel.

Raya Pro has its own panel dedicated to Dodging & Burning where you’re able to create much more than only the traditional 50% Grey layer (though this is what I use the most). In this panel, you can create Dodge & Burn layers that specifically target only the highlights, shadows, or mid-tones. This is a great option to have when you’re working on local adjustments.

In addition to Dodge & Burn layers, you’re also able to create different styles of the Orton Effect; a glow effect that creates a dreamy atmosphere.

Correcting Color Cast

Raya Pro is also a great tool when it comes to working with colors. Whether you want to saturate, desaturate, convert to B&W or add warmth to the highlights, it’s all done with one simple click.

Correcting color cast is done with one simple click as well. In fact, you’ve got four options to use in case one doesn’t give you a good result: Correct 1, Correct 2, Correct 3 and Manual Correct. The three first make use of different techniques that automatically remove color cast. But should those not work, you can use the Manual Correct button for better results.

Filters & Finish

The last panel I use in my workflow is Filters & Finish. While I only use this panel for the Web Sharpening tool that doesn’t mean I don’t recommend playing around with the other effects as well.

Raya Pro Photoshop Plugin - How to Simplify and Speedup Your Workflow

You’re also able to add your own Actions if there’s a specific technique or effect you regularly create, that’s not already on the panel.

Final Words

Raya Pro has been a part of my workflow for the last couple years. While I still make the majority of the techniques, effects, or edits manually, I do use it at some point for most of my images.

It’s a plugin that is great for both complete beginners and advanced users as each panel is built differently. After some trial and error it’s pretty straightforward to use and, in my opinion, it’s never been easier to create professional looking techniques.

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How to use Photoshop Droplets and Actions to Automate Your Workflow

22 Apr

Most photographers who do any kind of event photography (including corporate or weddings) need to find ways to automate aspects of their photographic workflow. This is because events usually generate a lot of images. There are many ways to automate your workflow. This article will describe a technique for speeding up your workflow using Photoshop Droplets and Actions (rather than Lightroom).

To understand this method you need to grasp a couple of Photoshop concepts: Actions and Droplets.

Droplet Processing

Created using an Action and the Droplet we’ll make below.

Photoshop Actions

What is a Photoshop Action? An Action is a powerful tool in Photoshop which is essentially is a recorded sequence of steps. By recording the repetitive individual steps as a group, the entire sequence can be repeated. Actions are really intended for global edits and not for image specific local edits.

Conceptually, as you develop your editing skills as a photographer, regardless of whether you are using Lightroom or Photoshop, you will eventually develop a style or procedure that you like to do when you process your images. Using Actions will help automate these procedural edits.

Beyond your own types of global edits, Photoshop comes with a small set of pre-configured Actions that are included in the installation of Photoshop.  In addition, there are many Photoshop Actions available either for free or for purchase on the internet.

Many photographers try to engage their followers by selling Actions to achieve particular looks. Anyone purchasing Actions should know that they are just pre-recorded sequences that anyone can do within Photoshop to achieve the same look (they do take time to set up though). Regardless, Actions automate repetitive steps in Photoshop.

Droplets

Droplets are a great way to automate the use of Actions with Photoshop. Droplets are similar to Actions but can be used on many files and activated from outside of Photoshop. There are other ways to do batch processing, but Droplets are a neat and simple way to allow actions to be performed on multiple images.

Sound confusing? Here it is in a nutshell: a Droplet is a small executable file that allows you to drop a folder full of images onto a file on your desktop that will run an action set and create final image results that are stored in another folder.

Why do this?

By using a Droplet, you can take a folder full of images and process them without having to open each one individually. It allows you to perform a long series of repetitive steps on images simply and cleanly. Just drop the folder on the Droplet and walk away to allow your computer to do all the work while you do something more fun, like make a sandwich or watch a Netflix show.

Why not do all of this with batch processing in Lightroom? Lightroom allows for batch processing of images with Presets. But some Actions are too complex for Lightroom and Actions for Photoshop don’t work in Lightroom unless they are specifically built for Lightroom. Any event photographer or any photographer that has to take and process a lot of images needs to find a way to simplify their process to get images finalized.

So how do you set up a Droplet?

First, you need to either decide on an Action or sequence of Actions (you can use more than one) and decide where you want to put the edited files when they are done. To show how to use a Droplet, let’s create a simple action and then set it up as a Droplet.

Step 1: Open an image

Droplet Batch Processing Before - How to use Photoshop Droplets and Actions to Automate Your Workflow

Image before processing

Let’s make a simple action to apply the appearance of motion to an image by applying a radial blur.

The first step is to open an image in Photoshop. You need to start with an image in order to be able to go through all the steps to save the Action and create the Droplet. You can use a pre-existing Action but to create the Droplet you need to modify the Action and that can get complicated.

For this example, you are going to create an Action first, make sure it works, and then use it to create the Droplet.

Droplet-Creating the Action - How to use Photoshop Droplets and Actions to Automate Your Workflow

Launch the image into Photoshop

Step 2: Create the Action

Create an Action - How to use Photoshop Droplets and Actions to Automate Your Workflow

Dialogue box for creating a new Action in Photoshop.

If you already have an Action that you want to run, you can skip the process of recording a new one, but for this example, we are creating a new Action. First, you need to open the Actions panel. If yours is not visible, go to Window > Actions from the top menu.

Once the Actions panel is open, you need to make sure you are not in button mode (button mode has colorful boxes).  If the list in the Actions panel is grey staggered boxes, you are in the right mode. At the top right corner, there is a small wing menu. Open that and choose New Action. You will then see the panel above.

For this Action, we are creating a motion effect using a radial blur. Call the Action dPS Radial Blur (or whatever makes sense to you) and then press the Record button to start recording the Action. You are on your way and you should see a red dot at the bottom of the Actions panel.

Step 3: Create the Radial Blur

Duplicate the image by selecting Duplicate Layer from the pull-down menu at the top of the layer panel (or use the keyboard shortcut Cmd/Ctrl+J).

Duplicate the image - How to use Photoshop Droplets and Actions to Automate Your Workflow

Create a duplicate layer.

The name of the duplicate layer is not important, but this is the layer to which you are going to apply the radial blur. Now, with the new layer selected go to the menu bar select Filter > Blur > Radial Blur. This will open the following dialogue box.

Radial Blur Dialogue - How to use Photoshop Droplets and Actions to Automate Your Workflow

Apply the radial blur.

The default method is spin and the default quality is good. Change these to zoom and best (as seen above). You need to apply a fair bit of blur for this effect, so anything higher than 70% will work. Your dialogue box should look like the image above.

Step 4: Create the Mask

For this effect, you will only be applying it to the outside edges of the image. To do this you are going to use a layer mask. To create the mask, select the layer you just applied the radial blur effect to and then click on the icon with the white rectangle with a dark circle in the center (third from the bottom left). This should create a white square next to the thumbnail of your active layer, that is your mask. The white mask means that your effect is still being applied or showing across the entire image.

Create the Mask - How to use Photoshop Droplets and Actions to Automate Your Workflow

Create a layer mask on the layer with the blur effect you just created.

Once you have created the mask you need to paint on it with black to selectively hide parts of the effect on this layer. Select the Brush Tool and choose a large brush with a soft edge to modify the mask. The size of the brush should be pretty big so that it covers a large portion of the center of your image. Use a really soft brush (hardness of about 15%).

Paint on the mask with black (make sure the mask is selected not the layer itself – square white brackets should be around the mask) over the center of the image to reveal the sharp part you want showing. Use the softness of the brush to make the transition from blur to sharpness gradual. Your mask should now look mostly white with a black dot in the middle.

The finished image - How to use Photoshop Droplets and Actions to Automate Your Workflow

This is the image after the steps have been completed.

Your image should look something like this effect. Your Actions panel has been recording all these steps in the background. Save your image in the format you want (JPG, PSD, TIF, etc.), the location should be your destination folder.

Step 5: Finish recording the Action

Go to your Actions panel and press the square box (stop button) at the bottom of the panel next to the red dot.

Action panel still recording - How to use Photoshop Droplets and Actions to Automate Your Workflow

Finishing the Action, press stop (square) next to the red dot

This stops the action from taking further steps. Your Action is now complete. If you delete the layer with the blur on it, you can test your action on the same image.

Simply go back to the Layer panel, delete the top layer with the mask.  Go to the Actions panel and find the new Action with the label dPS Radial Blur, highlight it, and click the triangle pointing to the right on the bottom line of the panel. This will activate or run the action. If you have done it correctly you will get the same image again. Yeah!

Step 6: Making the Droplet

Okay, we are almost ready to create the Droplet, there are only a couple more steps involved. To make sure the Action works properly you need a fresh instance of Photoshop. So the first thing to do is to close Photoshop and relaunch it.

The steps to make the Droplet from this point on are quite simple. To create the Droplet, go to the menu bar to File > Automate > Create Droplet.

Creating the Droplet - How to use Photoshop Droplets and Actions to Automate Your Workflow

The Droplet dialogue box.

This is the last set of steps but they are important. First, pick a good location for your Droplet. Usually, a great spot is on your desktop. Click the “Choose…” button, select the desktop and a name for your Droplet (give it a meaningful name for you).

Under the Play heading, uncheck all the boxes (these will stop your droplet from processing) and select your new Action from the pull-down list. Set the destination as Folder and choose a destination for your images (it is usually convenient to put the folder on the desktop as well). Uncheck the Override Action “Save As” command.Press OK.   The last thing to do is to create an empty folder (this will be the source folder where you put your images to be processed) in the same location as you put your Droplet (e.g. the desktop). Close and exit Photoshop.

I like having the source folder, Droplet and destination directory close to each other on the desktop. My arrangement looks like this:

Source folder, Droplet and destination folder

A typical layout for a Droplet on my desktop.

Step 7: Using your Droplet

You are now ready to use your Droplet. Simply put your images to be processed (try only a couple to test first) into the source folder (in this case it’s called To Be Processed). The images should be in the same format you chose previously. Make sure Photoshop is not running (sometimes this causes communication errors). From the desktop, highlight the source folder and drag it onto the Droplet.

Here’s what should happen: the Droplet launches, Photoshop starts, runs your action, and saves your images in the destination folder. Using the test image, it should look like this.

The finaished image

The finished test image after processing

Conclusion

Sometimes droplets are finicky to set up but once they work, they work really well. Each image is processed separately one at a time, so you can take a number of images, put them in your source folder and then just drop the folder on the droplet. This allows you to walk away from your computer for a while, grab a coffee, update your Facebook status (#Workinghard!), have a short nap and come back to a finished set of images.

Droplets can really help to simplify your workflow. The only word of caution is that if you are processing a large number of images with an Action that causes the finished image to get significantly larger, make sure you have sufficient hard disk space for the finished images. I have found if you run out of disk space, Photoshop will crash during a droplet operation.

Happy workflow! If you have used Droplets before please share your experience in the comments below, as well as if you have any questions.

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Viral KFC ad campaign turns fried chicken into flames with Photoshop

20 Apr

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New York City-based advertising agency Ogilvy and Mather’s latest ad campaign for KFC Hong Kong is on fire… so to speak. Tasked with advertising the release of KFC’s Hot & Spicy chicken, the agency created a clever collection of images that morphs the flaky breading and orange tint of crispy chicken into smoke and flames.

The clever Photoshop jobs include compositions of the spicy chicken with space shuttles, power rangers (we think?) and a rocket-toting drag racing car, but the concept has taken on a life of its own as all good memes do. A few Twitter users around the world have started Photoshopping their own versions of fried-chicken-as-fire.

The series of advertisements picked up attention from the Post-Production Ads Reference Awards for the clever campaign—a well -eserved accolade. Below are a list of contributors to the campaign, as seen on the Ogilvy and Mather agency’s Behance collection.

Agency: Ogilvy & Mather Hong Kong

Client: KFC Hong Kong

Chief Creative Officer: Reed Collins

Creative Director / Business Partner: John Koay

Creative Director: Matt Nisbet

Associate Creative Director: Kai Fung Chan

Art Director: John Koay

Account Manager: Stella Fung

Project Manager: Jennifer To

Photographer: Illusion, Bangkok

Illustrator: Illusion, Bangkok

Retoucher: Illusion, Bangkok

Articles: Digital Photography Review (dpreview.com)

 
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How to Simulate Venetian Blinds Lighting Using Photoshop

16 Apr

When you’re having a romantic dinner you light it with candles and not a bright reflector, right? That’s because light contributes to forming an atmosphere. When you’re making a photograph, measuring the right exposure is not the only thing that matters. Wouldn’t you agree that manipulating that light is what makes it or break it?

In this tutorial, I’ll show you how to simulate light coming in through a window, so that your photo has a warmer ambiance.

Venetian Blinds Lighting Effect Photoshop Tutorial Intro

Getting started

In this case, we’re going to make the effect of sunlight passing through a window with Venetian blinds. This is why the first thing you need to do is delineate the spacing in between the blinds. To make this task easier you can turn on the rulers, just go to Menu > View > Rulers so you can make the spaces more evenly.

Make a new empty layer by going to Menu > Layer > New Layer. Then select the Rectangle Marquee Tool and start tracing. They don’t have to be perfect just try to keep more or less the same width and the same spacing in between. The amount is up to you, for this example, I’ll do 8.

NOTE: Hold the Shift key down to add multiple rectangular selections.

Marquee Selection Venetian Blinds Through Window Light Photoshop Tutorial

Adding the light

Next, you need to fill the selections with white. You can either select the Paint Bucket Tool and click inside each of the rectangles, or you can go to Menu > Edit > Fill which will bring out a pop-up window. Just make sure the content is set to white and all the selected areas get colored at once when you click OK.

Edit Fill Venetian Blinds Through Window Light Photoshop Tutorial jpg

This doesn’t look very realistic yet, but don’t worry, we’ll make it better. To start, you need to give it some perspective to make it fit your image. For this, you can go to Menu > Edit > Transform > Perspective. Find the real light source and make the light (the white bars) smaller on that side. Then turn it and drag it until it feels as if the strips are coming out from that source.

Free Transform Venetian Blinds Through Window Light Photoshop Tutorial jpg

Tweak the light beams

Once it fits you need to make the white bars look more like light beams by smoothing them using a blur filter. Go to Menu > Filter > Blur > Gaussian Blur.

A pop-up window appears and you can set how blurred you want it by dragging the Radius slider. Make sure the preview option is checked so that you can see how your adjustment looks before you apply it. I’m leaving it at around 50 pixels but this is up to you. When you’re happy just click OK.

Gaussian Blur Venetian Blinds Through Window Light Photoshop Tutorial jpg

Then change the blending mode of the layer where your stripes are so that it integrates better with the background image. You can do this in the drop-down menu on top of the layers panel. Open it and select Soft Light blend mode.

SoftLigh Blend Mode Venetian Blinds Through Window Light Photoshop Tutorial

Apply a gradient

It’s already looking much better, there’s just one final touch that needs to be done. Because the light will obviously be stronger closer to the source and slowly fade away; you need to apply a gradient to achieve this effect.

Add a Layer Mask by clicking on the button that looks like a rectangle with a circle in the middle, located at the bottom of the layers panel. While the mask is selected, go to the Gradient Tool that is hidden behind the Paint Bucket Tool. Then from the top sub-menu, choose the one that goes from black to transparent.

Apply the gradient by dragging your mouse across your image. Follow the lines and make sure the white part of the gradient is at the end of the image where you want the light the brightest. If it’s not, you can just invert the layer mask, or undo it and try again.

Graded Layer Mask Venetian Blinds Through Window Light Photoshop Tutorial jpg

Finishing up

There you go, light passing through Venetian blinds from the window onto your subject without even needing a window!

Venetian Blinds Lighting Effect Photoshop Tutorial After

Applying the effect to the background only

This, of course, works if your subject is lit by the same source as the background, but what happens if you have two different light sources? Let’s do an example where we want only the background to receive the light from the window and the subject will be lit by a different light source.

Venetian Blinds Lighting Effect Photoshop Tutorial Before2

Start by doing exactly the same as you did in the previous example. When you’re done with that you have to add one more step. Duplicate the subject that you want to be in front of the Venetian blinds lighting effect.

You do this by selecting the object. It doesn’t matter which tool you use. In this case, I used a combination of the Quick Selection tool refined later in the Quick Mask. Once you have your selection go to Menu > Layer > New > Layer via Copy. A new layer will be created duplicating the subject that you selected onto an empty background; drag this layer to the top.

Venetian Blinds Lighting Effect Photoshop Tutorial Duplicate Layer

That’s it, your subject will be in front of the lighting effect and therefore won’t be affected by it. Give it a try and show us your results in the comment section below.

Venetian Blinds Lighting Effect Photoshop Tutorial After2

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How to Make Fake Shallow Depth of Field Using Photoshop

11 Apr

Do you see your photo and wish the subject stood out a bit more? Does your photo look somewhat flat? Or maybe the background has people or objects that are unappealing? All of these can be fixed with one simple thing: a shallow depth of field.

In this tutorial, you will learn how to achieve this in post-production using Photoshop.

Fake Depth of field tutorial

Let’s start by clarifying that depth of field is the area of your photograph that is in focus, it’s also called focus range. There are three factors that affect your depth of field.

First is the aperture or f-number. The smaller the number, the smaller the focal range and vice versa, so f/5.6 will have a shallower depth of field than f/22. The second and third factors are very linked together; the focal length and the distance to the subject.

If you are using a telephoto lens and you can, therefore, stand farther from the subject you’ll have a shallower depth of field than standing closer with a wide-angle lens. You can learn more about this relationship and its effect on depth of field in my previous tutorial, How to Use Still-life Subjects to Understand Focal Lengths.

However, if you didn’t manage to set up these things when you were shooting, or you still need more (blur in the background) you can also fake the effect of shallow depth of field in post-production. Here are two techniques to do it using Photoshop.

Technique #1 – When the subject and the background are separated

Before Focus Range Fake Depth of Field Tutorial

Before image example.

With your image already opened in Photoshop, start by duplicating the layer by going to Menu > Layer > Duplicate Layer, then make the canvas bigger. You can do this by going to Menu > Image > Canvas Size.

It doesn’t matter the size of the canvas or the direction because you’ll be cropping it later. However, it’s important that there’s enough room for your main subject to be dragged into it on the next step.

Duplicate Layer Canvas Size Blur Background Tutorial

Then select your subject. It doesn’t have to be precise so you can simply use the Lasso tool and draw a selection around it. Now change to the Content-Aware Move tool which you’ll find hidden behind the Healing Brush on the tools panel. Next, drag your selection out of the image into the empty canvas size that you created before.

Content Aware Move Tool Blur Background Tutorial

Once you drag it out, Photoshop’s algorithm will fill the space you’re leaving empty with the information from the surrounding area. If you skip this step and blur the background with the subject still on it, the colors will spill out so it’s important that you do this part.

Drag Content Aware Move Tool Blur Background Tutorial

Now you can crop out the extra background, including the subject you dragged out and change the canvas back to its original size. Your background is now ready for you to blur it. Go to Menu > Filter > Blur > Field Blur. When the blur applies, a wheel appears in the center with a percentage on how strong the blur is. Adjust it to your liking.

Field Blur Filter Fake DepthofField Tutorial

With this blurred layer still selected, add a layer mask to it by clicking on the button that looks like a rectangle with a circle in the middle on the bottom of the Layers Panel. Then paint on the mask with a black brush, over the subject you want to keep sharp from the original image.

Layer Mask Fake DepthofField Tutorial

The part that you painted black is now transparent so the layer beneath it, which is your original image will be visible. Finally just flatten your image and you’re done!

After Focus Range Fake Depth of Field Tutorial jpg

Technique #2 – When the objects are closer together

The technique you just learned is very useful if your subject is separated from the background, but what happens if you want a shallower depth of field because the objects are closer together? Or because it’s the same subject but you only want a part of it in focus?

In these cases, you need to create an effect that is graduated (fades from one end to the other). To do this here is another technique.

Before Shallow Depth of Field Tutorial

First of all, you need to duplicate the layer by going to Menu > Layer > Duplicate Layer like you did in the previous example, or use the shortcut by dragging the background layer into the Duplicate layer button on the bottom of the panel (or hit Ctrl/Cmd+J).

Then apply a Layer Mask to the new layer by clicking on the mask icon. Inside the mask, you will use the Gradient tool to mark where you want the sharp areas. In this case, I used the circular one but you can use a linear one or whichever is best for your image. I turned off the background layer so you see what I mean.

Grading Layer Mask Fake DepthofField Tutorial

Now go to Menu > Filters > Blur > Lens Blur and a new window will pop-up. Here you’ll see your image with the filter applied and a panel for adjustments on the right side.

Lens Blur Filter Fake Depth of Field Tutorial

It’s important that you set Layer Mask as the source, that way the gradient selection that you did before is what will determine how the filter gets applied.

Once you do that, the Blur Focal Distance slider will be enabled and you can start adjusting it to your liking. I also adjusted the radius and blade curvature, but you should move all the settings to get a feeling for the effects until you’re satisfied.

Finishing up

Hit OK to apply and flatten the image to finalize the result. That’s it!

Remember that every image will need a different treatment to look realistic because there are many things that determine the depth of field so keep experimenting and show us the results in the comments section.

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