sppn.info Laws The Professional Photoshop Book Vol. 2

THE PROFESSIONAL PHOTOSHOP BOOK VOL. 2

Sunday, August 18, 2019


3D postproduction Add depth with textures Atmospheric lighting Commercial lighting CS6 Feature Explode photo Exposure merging Illustrated effects Killer. The Professional Photoshop Book Volume 2 on sppn.info *FREE* shipping on qualifying offers. Got another image published!! They had also asked to see AmalgaMATE 2 but I' m glad they picked this one so that I could see another image.


The Professional Photoshop Book Vol. 2

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They had also asked to see AmalgaMATE 2 but I'm glad they picked this one so that I could see another image of mine get so. The Professional Photoshop Book . Photoshop Book, Advanced Photoshop, Photoshop Tutorial, Cute Discover ideas about Photoshop Book The Professional Photoshop Book Volume 2. Topics photoshop, layer, create, image, layers, brush, professional, tool, colour, select, photoshop book, professional photoshop, filter forge.

With the former you knew little understanding of colour science or calibration, with the latter you have infinite control over white point, luminance, contrast ratio, gamma and more. And those extremes are appropriate, given that colour is incredibly complicated to manage perfectly across the myriad of devices we all use and the variety of inks and papers an image could be printed on, but in the end it is quite simple, and about achieving the colour that you want.

X-Rites Simon Prais says We love to blame a computer and technology and to get concerned about complex settings whilst overlooking the obvious. If the objective is to match the printer to the screen, remember that just because the print is a tangible object, the colours can still vary considerably depending on the viewing conditions. Taken to an extreme, switch the room lights off and you have a black sheet of paper, switch on the lights and there is potentially a colourful image.

But the colour balance and intensity on the image is totally dependent on the type of light under which you are viewing the print. Room lighting will change throughout the day and will be affected by reflections, how you see a print will also vary depending on how close the image is to the light source.

But its still better to have your side of it calibrated so you know that the quality is the best it possibly can be on your end, says Nettles Snap right: A photographer can calibrate their camera images by shooting a colour target in the light they are shooting in; the colour of the image can then be adjusted using a plugin to Lightroom like the X-Rite Color Checker Passport.

For this Betsy Fisher bus shelter signage, the photographer colour balanced their equipment, allowing me to have faithful reproductions of the shoes to assemble the final art Be a stickler: If you send a file to a printer, they have in-house colour management; be sure you get a press proof back from them so you can check the colour, and be sure to go to the printer and view their proof in their colour-balanced proofing room to be sure of what youre seeing.

These jobs range from product, packaging, food and furniture and need to be colour corrected to match different references. I have found the more expensive the product the more attention that the colour matches precisely.

Our studio has GTI colour view stations at each workstation to allow us to correctly view the references in correct light as we are making adjustments. We also have spectrophotometers we use to read colour values from the reference material and get RGB, CMYK, and Lab values that closely match the sample.

Essentially it all goes back to the fact that there are two types of colour mixing; additive and subtractive. Additive is using the three primary colours, red, green and blue. Subtractive is using cyan, magenta and yellow, with the addition of Key black in printing because the other three dont create an impressive enough result for large amounts of the stuff. Paul Sherfield, who runs colour management courses through his company The Missing Horse Consultancy www. There are a number of colour setting Pre-sets in a drop down, he says, the opening Default being North America General Purpose 2.

Through step-by-step tutorials, follow the progress of designs that use techniques from several different disciplines: Those dedicated to learning from others and honing their craft need look no further for guidance in how to create flawless digital masterpieces.

Publishing Director Aaron Asadi. Head of Design Ross Andrews. Production Editor Fiona Hudson. Senior Art Editor Greg Whitaker. Senior Designer Sarah Bellman. Photographer James Sheppard. Disclaimer The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post.

All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review.

Although the bookazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This bookazine is fully independent and not affiliated in any way with the companies mentioned herein. Focus Area selection tool: This tool Upsampling tool: The most useful feature Non-destructive elements: Having the figures out what is in focus based on the for print designers or anyone who often ability to apply filters and effects in a amount of detail present in the image.

This is because it allows focus area. This is a great time-saving tool. You can now resize images directly you to play with the effects to enhance your alternative to the Pen tool for images within Photoshop while maintaining the image without actually having to commit to where the main subject is in focus and required detail, without resorting to them or duplicate the layer the background is not third-party plug-ins.

In older versions, adding blurs to your illustrations and photos was a bit of a song and dance where youd have to apply a Gaussian Blur to a duplicated layer and then use a Freelance illustrator Natalie Smillie www. I like to use lots of texture wonderful brushes that simulate traditional media, point for the blur. You can click and drag this pin to and to achieve this I use brushes.

Some people and this is fantastic for a digital artist who loves to any point in your image that you want blurred. So far prefer using a texture image and layer [blending] work with a traditional look! The Gouache brushes it just looks a standard blur, but click anywhere else modes, and while I do that sometimes, [most] of the are my favourites; they give a marvellous, rough and and you will create another pin; if you change the time Ive directly painted any textures [that] I want.

I use a Wacom Bamboo tablet, and around the pin , it will fade from one pin to the next. I can vary the strength of time, which gives you a huge amount of control over want texture. I also vary the opacity of the brush and make sure your audience is focussing exactly where kyletwebster. He makes absolutely build colour in gradually. Free Price: Free Compatibility: It lets you capture membership. Use it to browse and preview PSDs colour combinations when you are out and about and other design files from your iPhone or iPad, using your iPad or iPhones camera.

The app then which is handy if youre in a meeting and you need extracts the colours, which you can save as a to quickly reference files. As Creative Cloud lets theme. The theme is instantly uploaded to your you collaborate with others, you can view other Adobe apps if you are connected to the comments, feedback and ratings on the move Creative Cloud and you can share them with perfect for when you are away from the office.

If you are struggling to achieve the look you desire, then digital artist Antti Karppinen www. I use various techniques when I colour grade my images. When the image is retouched to the point where Im happy with it, I will start colour grading the image.

First, I will try to find the overall tone to suit the image by putting a Selective Color adjustment layer on top of it. I choose White from the Colors drop-down and use sliders to get the highlights and lighter shades done.

Free Similar shading can also be achieved with a Color Compatibility: Free Midtones, Highlights and tweaking the sliders the Photoshop. Desktop CC lets you link to your Compatibility: Behance portfolio and upload artwork, and these If youre still learning about Photoshop CC, or After this, I will add a Curves adjustment layer. The main Behance app lets you app gives you access to over tutorials all black tones of the image. I also usually select other browse the latest images on the website.

The about the different Creative Cloud apps. If you find channels like Blue and turn the darker side more to Creative Portfolio app lets you showcase your yourself on a long commute with nothing to do, the blue, and the lighter side more to the Yellow.

In own artwork in an aesthetic manner, which is then you can still be productive by watching some addition, on this image I used circular Gradient Map perfect for client meetings. I use a workspace setup for one screen. I choose to auto-collapse panels because this will give you the most space to work with.

Use shortcuts: Brush palette: Adjustment properties: The History palette: The History adjustment properties window is palette is very handy to go a a must have in your workspace. Ink is a fine-tip pressure-sensitive pen that can be used to draw precisely on the move. Slide is a digital ruler that complements the Ink, helping to create pixel- accurate shapes. The technology is provided by At the end of a Adonit and is shipped from the company in the US. Knowing the tricks to giving your images that project, I duplicate the whole composition with This means that UK-based customers, and those high-end finish can really help your work stand all the layers intact and then I flatten it.

I then around the world, need to allow for shipping costs on out. Illustrator Alexis Marcou www. If you struggle to draw on his work: A very useful filter that I add to and after I am done I use this as a filter on my accurately on the iPad, then this could be a real almost all of my illustrations at the end of a final composition. I place it above all the layers time-saver and enhance your workflow. To insert a externally until they are rasterised.

Here, the linked Shape option. Ive used a simple smart filter and has a couple of adjustment layers the Layers panel. This can help you align multiple pattern swatch. As the original and also tick Preview so you can see your guide artwork was an AI file, Illustrator will open. Make layout as you work. You can input values to add your changes, Save and Photoshop will update the Columns and Rows, the Gutter value and Margins as linked file.

Multiple files can be inserted, allowing needed, which makes doing complex layouts in you to edit one master file instead of each one. He explains the features that have appealed to him: With any piece of work you are putting together, it can be a great time-saver to have an automatic marker pop up rather than having to manually draw guides.

With the update of Photoshop CC, the smart guides have almost caught The smart CC and these can really help you stay productive guides in CC also allow you to see measurements when you are on the move. For example, Shape CC for an individual layer. This is particularly useful when duplicating Illustrator for when you are out and about. This literally opens up the whole world as potential sources of inspiration and assets, which is very exciting.

Also, with the apps being free, and only the basic free Creative Cloud membership needed, they are worth trying. In Refine, you can images already on your device, use the camera Photoshop. This greyscales the image ready for determine the white masking areas and manually to snap something or pick from your Creative using as a custom brush. You can also change erase parts of the image. The section on the right is Cloud files. When you are happy with the image, the Angle of the brush strokes from the same for testing your brush, changing the colour, flow and click the tick to open it in the app.

Finally, you can save the brush. Unlike the Motion Blur option, which will The CC Blur Gallery has attracted a lot of attention make your image blurred along a specific angle, from digital art professionals, as it cuts down on this tool allows you to customise the way you the time taken to achieve powerful blur effects.

This series of once-complicated steps and deals with image required me to make a directional blur in them in a single interface. Video game producer specific areas in order to make the splash look Path Blur: Now make a path and digital artist Berli Mike www. This tool enables create the blur in this colourful image using the you to make motion blur in several directions in Path Blur function.

This will make a black mask hiding all of the blur , so that you can precisely blur the points of each splash without worrying about the other parts of the image that you have to erase if youre using the plain white mask. Curved paths: As I already mentioned, just like Pen tool, to make All finished: Thats it! Youre done a curved path you can add a point inside a path and move it blurring the image.

A process that around to bend it. Apply the blur and youll have your image used to take more than one go is blurred out just like it displays in the preview simplified using this new method. However, the Photoshop CC Welcome screen has been considerably improved, If you are forever sharpening your images to get Here we will use Linear Light, since this blending The first page, Create, gives you quick links to that perfect finish, then try using the High Pass mode will make the image as sharp as it can get common document sizes and recent files.

New filter for great results that save you time and without destructing the contrast itself. Features gives you a quick overview of the latest effort. Berli Mike www. Getting Started has videos for edits to make the whole image pop: Why am I adjustment dialog to desaturate the image to beginners to Photoshop, which more advanced users using High Pass instead of those Sharpening black and white. Then apply the High Pass filter, can probably skip.

Because it is safe and its not very but never go beyond three pixels for the Radius or though, are great for learning the newer tools quickly.

Working in combination with Creative Cloud Libraries are incredibly useful if you account. Assets can also be downloadd from the all of these tools will save you hours of time use a lot of the mobile apps that Adobe has been Creative Cloud Marketplace, so there are a range of transferring files and hunting down assets. You can create multiple libraries as well, labelling Creative Cloud programs, such as Photoshop and Once you have assets, it is easy to drag and drop them for different projects or types of asset.

In order Illustrator. Libraries can store everything that you them into projects or click on them to use; for example, to view your libraries in Photoshop, you need to have create in apps like Color for themes , Shapes CC for you can pick colours directly from the themes.

If you the latest version of Photoshop CC From the drop-down menu in the top Once you have your Creative Cloud Libraries set right, you will see the Collaborate option.

Click on up, you can share them with others and allow this and your browser will open, taking you to your them to add files to your library. This is very useful online Creative Cloud account. Here you can input if you are working on a joint project and you all email addresses of who you want to invite to your need access to the same assets, like text, logos library and add a message.

Users can view, edit, and themes. In Photoshop CC, you can open the rename, move and delete assets, as well as invite library that you want to share its best to be or remove other collaborators. The Clone Stamp tool is a perform, but they used to be pretty hidden away. There are three different options to clone.

Youll notice that when you move your choose from and each have a multitude of options mouse, the circle will contain the artwork that to play with. Picture Frame generates frames and you cloned. Finally, simply click on the area you have a wide selection to choose from.

You can that you want to be cloned and move your customise the elements that make up the frame to mouse to draw the cloned image in. No more get exactly the look you want and save them as re-shoots, just clone, clone, clone!

This tool presets. Tree inserts one of more than 30 tree also works by cloning sections from other shapes, each of which can be customised to suit, images into your image. For example, to which can be real time-saver if you have landscape design this Vans advert I decided to clone in the graphics to create. Finally, Flame, which is the BMX rider from other photographs to create newest of the three, generates a flame effect along this action-packed advert that portrays the a selected path of any shape, perfect for quick pathway he had taken.

Weve used a custom arrow shape, set to Path, to create our flame effect. This creates a black-to-white silhouette of your affected area.

This can occur when the hair is pulled back and hair texture parts. Curves can be applied to colour correct. These hidden presets will apply effects with a single click. You can tweak colour Stops and save your own styles. These are great at replicating real-world media such as pencil and crayon to simulate real-world application. As you work, your nib style will erode and soften just like it would with a traditional stylus.

Just click the Sharpen Tip button to revert back to your original nib strength. This is a Now Attribute and Color. Dragging left to right edits the brushs size, up and down the hardness. If you need to you can screenshot, or to flatten the file and share with open faster but it will open as a flat file for change the style of this in Preferences.

CC has resolved this, but you may not have guessed, as Photoshop now accepts hashtag entry. Hex colours When you need to add Color Values, where you can keep track of the two good sense of depth of field to create realism.

However, hastily applying Blur filters to your convert its layer to a Smart Object first. Now you can This will save you a lot of time. To grab your attention this now lets you create your own scripted patterns. You can choose from a list of presets that apply cool effects. These are perfect for designing wallpaper, fashion patterns and more. You can add to this, Photoshop to crash out?

Ever forgotten to save? Some photo editors like using Camera Raw. Some but double-click your layer to reopen Camera Raw Ever lost it all? Well now you dont have to like using Photoshop. Why not use both? Make and edit your original settings. You can set intervals by going select Open Object. This will send your image to improved workflow. Select Typography from the Workspace options to activate all associate panels.

Create a Photoshop can cause distortion and theyre You can set options in the appearing dialog box, right. However, you can minimise adverse which initially save as your first Paragraph Style.

You can go back in and edit Set Bicubic for transforming gradients, Bicubic Smoother for enlarging, and Bicubic Sharpening for reducing presets, saving by clicking the tickbox icon at the foot size.

CC users can now find an Interpolation drop-down option in the above menu when activating the of the panel. Set this to Bicubic Automatic and Photoshop selects the right functionality for you much the same way. Activate the Marquee Alternative options will kick in once you start Range. Inside youll find Skin Toning in the Select Photoshop supplies the means to swap between applying.

This is great when you have to select dropdown options, editing targeted areas simply the Polygonal Lasso and freehand Lasso tools straight and organic edges in the same image. This is just another awesome one-click option from Photoshop CC. This is a pretty important place Use settings. In the past professionals have shied away from this option, as the minimum size controls not only shifted and blurred pixels, but application was impossible at worst and jerky at best.

This meant that constant revisions were required. Now application is live, meaning no more delayed rendering. Also Brush Size has improved from 1,px to an impressive 15,px. This means better handling of pixels when editing and less distortion. This is a great advantage when trying to create the most believable result possible. This will fill in your selection by cloning the cropped area, making it easier to align and individual edge control points to correct and surrounding details into this space.

Activate your scrutinise selected areas. This is complemented create symmetrical visual elements. Golden Ratio, Rule of Thirds and other guides. A keystone effects or create flat 2D textures. Activate the Liquify filter and apply the Twirl tool. Youll see it operates clockwise. Something similar also happens with the Pucker and Bloat. Thats not ideal if you want to resize your type layer, however, you can turn to the power of Smart Objects.

Its a great way to perfect composition in your snaps and minimise time-intensive retouching techniques. Make a selection of the element you want to move, then activate the Content-Aware Move tool and drag your selected item to its new position. Photoshop-automated cloning and healing fills the However, be aware that At one time or another youll probably need or want these as presets and play these stages back at any artefacts can be left behind and minimal retouching to be able to share multiple revisions of your work time.

Just make sure to make your tweaks before may be required after all. Setting the correct Adaptation with others, so instead of cluttering your layer stack clicking the Create New Layer Comp icon.

You can option will also help. This feature lets you take one-click functionality. Strict does exactly the opposite. The key to success is often leaving some impurities and letting the natural beauty come through. True success comes through a balance between perfection and imperfection. Once youve got the foundations of dodge and A great way to give yourself a little extra control is burn I cover this on my blog , you can start to to create two Curves adjustment layers, one with the implement a few of these quick fixes, such as midpoint lowered to burn, and the other raised to Frequency Separation and inverted High Pass to dodge.

Black mask these out and paint on the mask complement your workflow. Its all about learning. Adam Browning Hill with white to bring in the effect as locally as youd how to work correctly before fighting dirty! Its also like. This gives you the opportunity to tweak the hugely important to regularly look through fashion curve at any point in your workflow and to work magazines; theyre full of the kind of ads youll be completely non-destructively quick fixes wont hoping to work with, and trends in post-processing work until youve got the basics covered.

Franklin Thompson. It may sound silly, but over the years Ive learned that clear communication is key. Retouchers are hired to interpret and execute other peoples visions on a daily basis; however, I believe its just as important for retouchers to have a vision of their own and bring more than whats expected to the table. First, I like to find out as much as I can about the client and their brand by researching previous work to get a feel for what they like.

Oftentimes they pass along inspiration or detailed retouching notes that help me to understand how far to go with the images. Some clients come to me with very specific retouching notes to make sure things dont get overlooked for any reason. Retouching notes are a great starting point, especially when there are tight deadlines. On the other hand, there are some people who hire me based on my work and trust that I can bring my vision to the table. If this is the case, we have some sort of creative conversation where I ask a lot of questions and send samples to make sure Im on the right track and not wasting time.

Nice gnashers: Sometimes I leave flaws on images on purpose to Laughter lines: Flaws on this wrinkles on the image that I left were the image rather than not-so-perfect teeth softening them but almost perfect down too much. In the pink: Already having used nice Take your time: Never vibrant colours on the give up!

Beauty nails and eyes, I then retouching is so decided in post to add time-consuming that it a nice pink poppy will always take longer tone to the than fashion or editorial. Tools of the trade: Its a good idea to invest in a decent tablet. I had the MacBook Pro. I also have opportunity of shooting this great a preference of using the image.

Its often hard to look past big hair, with colour and toning added.

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Finally, a High. In this case, the skin has been cleaned, all flyaways and cross hairs Pass with a layer mask was used to sharpen the hair in some areas, and a small amount of grain added. This helps me have been removed, and additional hair has been visualise what I want to accomplish before I start added to the right side.

Bedi www. With modern lenses we can achieve very When retouching macro lip shots, spit on the gums sharp images, he says, and unfortunately with that comes a detailed can be annoying as the light reflects off it, causing a Stefan Bourson. Max Oppenheim. Make up: Nikki Wolff record of every hair and blocked pore, every irregular eyelash. The eye shine.

I have a library of eyelashes taken and doesnt tend to pick up on these tiny details in real life, but with close, neatened up from previous work to aid me if I ever sharp beauty shots we tend to even these out before print for the have to re-create them. The trickiest thing to retouch benefit of the shot. I zoom in very close for hair retouching to remove strands of hair that go Glowing skin against the natural flow of the hair style.

This helps With beauty work, skin is probably the most time-consuming part of to refine the hair to make it look neater. This then the process, as texture must be retained. In advertising and editorial at enables me to fill in dark areas to make it look more the high end, each part of the skin is carefully dodged and burned to Photographer: Nikki Wolff. I use various amounts of even out texture and maintain realism.

I usually start with Tim Johnson. Sometimes a hand, for example, will be to get to the final result, finishing off with a dodge better positioned in an outtake from the set, so occasionally theres and burn to create contouring and a nice shine.

Dipping a fashion toe Quite often Ill receive a sidecar XMP file with RAWs if the photographer knows the look theyre going for, but some of the most fun projects are those where Im encouraged to experiment with colour treatments. Ive frequently got my head in a fashion magazine, so there are always a few styles Im looking to try something new with for the right shot.

Even eyes Another one of those things the naked eye doesnt tend to pick up on but the lens notices is the symmetry of the eyes. My own left eye is slightly higher than my right. No-one would ever pick up on it but you can tell if I point it out on my drivers licence! At the other end of my Sergey Moshkov.

Its important not to oversharpen your working file at the start or youre giving yourself a lot more work. Facial freestyle: When Bringing the burn: The I dont know how to tackle tricky things I like main focus was bringing out her eyes and the gold Her hair had some subtle motion and a beautiful shape so it was pretty minimal work, only removing cross hairs and a few distracting flyaways, as well as cleaning up the hairline.

Lara Jade Making the cut: The image was part of an editorial we did for Factice magazine. It wasnt part of the original Clothing concerns: We picked this one to help break up only required a bit of make the story a little more all the other vertical shots. This beauty shot allowed us shaping around her well-rounded to get much tighter and really focus on her beauty shoulder area.

Texture can be lost by a explains Daniel Meadows. Its helpful to study the planes of the face, of the way light and number of ways, blurring and cloning are probably the top two. Good make-up tutorials that deal with Dimension is often lost by removing natural smile lines completely, contouring are also a great source of knowledge and inspiration. There are centuries of making the whites of the eyes too white, and by removing shadows sound advice from before we had Photoshop or even photography be sure to learn from under the eyes or lips.

Having a basic understanding of anatomy is them! One of the most important things to learn as a beginner is what a flaw is or isnt. I really important so that tools like Liquify arent abused when trying to engage online with a lot of beginner retouchers and try to offer advice where I can, and I shape parts of the body. In the end if retouching goes too far it looks know how easy it is to be over-enthusiastic. Lines under the eyes, moles, freckles, beauty cheap and tacky.

I suggest keeping it simple by polishing the skin while spots, perfectly natural neck creases, Ive seen them all wiped out. Usually the question keeping some natural elements such as moles or freckles. On the other why? Beauty hand, those who are learning how to retouch often forget about the retouching isnt about creating a wax model. You learn as you go that less is often more, body parts matching the face.

The face will look clean and polished but that if it isnt improving the shot it really isnt worth doing simply because you have the the arms, hands and legs will all be a different skin tone.

Dont forget tools to do so. Remember that the brand or photographer chose the model for a reason. Slightly contour an unfortunately squished bit by all means, improve a line a little for composition, but the small percentage of retouchers whose first instinct is to make someone thinner need to re-evaluate their methods.

After all, the final result of the image will also reflect on their reputation. I generally start by looking at an image to see what I think has to be Photographer: Charn S. Bedi, make up: Aimee Bassi. Normally they will add to the mark up.

If I think too much has been added, I usually flag it up straight away as I wouldnt want to give them back something that may look like a waxwork, or just overly retouched. I am strongly against the term it can be fixed in post.

Sarah Silver.

This screams at me if I am sent an image where the hair and make-up has not been done properly, which is where the line is crossed for too much retouching to be done. I have had to deal with a few of these in recent times where I have had to just turn the job down. Now put a mark through it and try to restore the gradient to its original state.

You will see this linear gradient in many different things; architecture, walls ceilings, a sheet of paper on a table, a sign and so on. If you can restore the gradient, chances are you can reconstruct or restore it in a real retouch. Before I start with a composite, a retouch, restoration, or any type of major work that I will do in Photoshop, I will look the parts over as if Im. Jeff Ludes about to write a piece of music and assess what needs to be done and weigh that against my confidence to be able to do it.

Then I begin the composition. I know it sounds goofy but some work is like that. You have to get your skills and your confidence to a level where you can be the conductor, and that takes years of practice.

Mark Gilvey This is the work that needs to be done regardless of client comments. The process after this varies depending on the image. If there are elements to be composited into the main scene, I will repeat the clean-up on these then extract them with the Pen tool. Then I will build a low-res composition to show the client before the high-res retouching begins. Clients usually have an end product in mind; more often than not they have concept art that the art director has drawn or commissioned.

The role of the retoucher is to take this concept to the very strongest final image it can be. Theres still a lot of magic involved and the client still expects a lot of creative initiative to be taken. Serial options: Because it was a series of images, Craig could borrow bits and pieces from other shots. Bring on the brushes: Craig made brushes shaped like clouds Explosive images: The explosion was shot separately, and explosions from the material shot to complete the image with a mannequin taking the place of the player.

The poor guy had to do the same aggressive sprint all day until the client was happy that theyd captured the energy well enough. The explosions in the image were shot separately in the studio, so we used a mannequin to get a sense of how they would interact with a body. The shape and direction of the explosions are supposed to be representative of the particular movement that the player is performing, so the clouds were shaped using numerous different shots.

I actually ended up making a number of brushes shaped like clouds and explosions from the material we shot to help shape the explosion how the client wanted it. Having brushes shaped like this was the only way to flexibly sculpt the explosion with Photographer: Sophie Ebrard. Once we had the general shape and size confirmed, we could go in and improve it, add fine detail, shadowing, interaction with the player and so on.

I also had to change the entire background. The client liked the players shape and expression in this shot, but not the amount of smoke Client comments: Taking the feedback or the lighting in the background, so I ended up building a composite of of the client on board is always a a few of the other shots from the days shooting.

Photographer David Westphal 34! There is some nice light in the sky and some point-of- just going to use one of these shots to add some stars to the sky and lift the colour to a more attractive blue. Already the image is looking more highlights on the sand and glows on the dunes behind, for example.

Weve also had to create a shadow for the boy in the tent. When the image interest light in the tent, but these both need to be alive. The product being advertised in this instance is was shot there was still no physical product in enhanced. If you find yourself repeating the same process multiple times inside Photoshop Look at creating an Action; whether its as simple as cropping multiple images and saving them, to complex effects or photographic looks, they will save time.

Alternatively, if you struggle getting the look you want, like a genuine HDR look or vintage feel, search for an Action that replicates it. You can see another one of my photos edited here with my Iceland Action. Many photo-editing skills can be applied to 3D images, and 3D retouching skills translate to 2D as well, as 3D artist Lorett Foth www.

The importance of lighting does not just apply to 3D, but also to a 3D photomontage or any other non-3D retouching job.

Either the lighting in the background of the image will need to be adjusted to your element, or the lighting of the object will need to be matched to your background. This can be achieved by paying close attention to the type of light sources that illuminate the image, and in which direction the light follows. Another thing to consider and match is the light colour.

An image will not look quite right if an object is illuminated by warm light and the rest of the image has cold light. I think its good practice to look at how photographers set up lighting, to get a better understanding and to be able to guess how an image is lit without seeing the light sources. There are quite a number of tools in Photoshop that are important, says Amar Kakad www.

It is quite a powerful tool and used in the process of applying contrast to colours. Essentially the Gradient Map tool converts the image into Grayscale. I then change the blending mode to Soft Light, which restores the colour values. It effectively applies contrast in the black, grey and white tones. You are offered various presets give it a try and you will see some interesting results. You can use this either with two colours or even multiple colours. It is entirely up to you.

Play with sliders, this will allow you more control over how much contrast you want to apply. Because I always use a Wacom when retouching, I have my right hand on my Wacom, and my left hand on my keyboard. All the shortcuts I use are by default scattered all over my keyboard, which makes having a Wacom to prevent strain on my right arm redundant if my left hand is still reaching everywhere.

Also, Ive set the interface colour back to good old CS5 grey. I find that having the darker colour scheme around my image clouds my judgment on contrast too much. Fashion photographer and retoucher Sabine Metz www. Ive been really keen on improving my workflow efficiency. Not only by making the retouching process from import to export as streamlined as possible, but also by making my workspaces more suitable for what I want to achieve.

A fully non-destructive workflow is essential for what we do. Everything we do is done in layers, which of course means very large files and huge amounts of RAM and storage space. A client may come back for a project that we have done six months or so ago, and ask for something to be changed or. Without a non-destructive workflow that could be problematic and time consuming.

Colour accuracy workflows are vital too; we calibrate everything from our cameras input devices to our Wacoms and Eizo monitors, and use the same workflows for colour accuracy through all our software.

We use Prepress ISOs to ensure that we dont get any nasty surprises from printers! From video games to TV series, it has influenced a lot of art forms in todays world. Inspiration drawn from the mythical age will be crucial in creating a mask for a mage. Within Photoshop there are different types of masking that can be used along with various selection tools to help the process. Photoshop CS6 is recommended for this tutorial since the Oil Paint filter will be used for post-processing.

When using masking techniques such as layer masks and clipping masks, edits are non-destructive and easily editable. With the nested layers ability in Photoshop CC, masking can target specific layers and groups. A tablet is recommended since it will increase the speed of cutting out stock photos, editing layer masks, creating selections and painting the the models hair.

Moe Pike Soe is a year-old self taught digital artist and designer from Yangon, Myanmar. He is currently working as a freelance graphic designer while extending his knowledge at Parsons the New School of Design in New York. On FileSilo you will find all the stock photos needed to follow the tutorial, including the retouched model photo provided by Moe Pike Soes photographer friend, Jason Nine.

Create a new document with dimensions of mm by mm. Import the image. Right-click the layer and select Rasterize Layer. Create a Levels adjustment layer. Set values to 25, 0.

Group the layers and name it BG. Import the model photo. Select the model from the background using the desired Selection tool and create a layer mask. After that create a new Selective Color adjustment layer. Clipping mask only targets the clipped layer and nowhere else. Create a new layer and set the blend mode to Overlay and clip mask again. Grab a soft white brush and paint inside models pupils.

Paint outside the eyes. Paint on the cloak to darken it. Set the values to 25, 52, 40, 60, 20, After that, select the layer mask of the adjustment layer, grab a black brush and paint the eyes and parts of the skin. This means the black and white will only affect the white areas of the layer mask.

Then create an Exposure adjustment layer. Open mask. Cut out the mask from the background by using a layer mask. Right-click on the layer then select Rasterize Layer. Now right-click the layer mask and select Apply Layer Mask.

Next create another layer mask and cut out the beak part of the mask. Create new layer, and clipping mask it to the mask. Set the blend mode to Soft Light and paint on the left and right edges of the mask to create the shadow of the cloak.

Grey tone brushes are good for. Create a new Exposure adjustment layer and set the value to 0, 0, 1. Clipping mask it to the mask layer.

Next add the shadow of the mask dropping onto the mages face. Set the blend mode to Overlay. With a soft black brush, paint underneath the edges of the mask. Play around with brushes and shades to extract specific parts of a layer. Import the file crown. Cut out the crown using a layer mask. Since we will be using the same stock image to create the ornaments, its best to duplicate the original masked layer. Use Transform tools such as Warp and Perspective to line up parts of the crown to the mask.

If parts from the crown need to be deleted, just edit it using the layer mask. Repeat the process until both sides of the mask are completed. Repeat Step 7 to add centre pieces to the mask. The trick is to align the parts of the mask with the lines from it. After setting up the ornaments on the mask, make it more realistic by adding shadows and some highlights.

Similar to creating the cloak shadow in Step 5, create a new layer, change blend mode to either Overlay or Soft Light and paint with a soft black brush on the right and left edges of the ornaments. Creating the mask requires multiple steps of duplicating the original layer, desaturating the layer, transforming it to match the base mask, and finally adding realistic shadows and highlights.

Keep repeating the steps until the surface of the base mask is covered with ornaments. Remember to desaturate all the layers because the colours will be painted later on. Import the file peacock. Then like before, add shadows to the sides and bottom. Import chain. Cut out one charm from the chain. Place it in middle below base mask layer, but above peacock feathers.

Import jewel. Cut out and place it in the middle and above all the ornaments. Clipping mask it to the ornaments group and paint with a soft black brush to darken parts of the ornament.

This step is the final chance to touch up the ornaments on the mask. Check if there are any parts sticking out of the base mask and the ornaments.

Open the file feathers.

The easiest way to cut out the feathers is to use Magic Wand to select all the white space. Right-click while the selection is still active and then choose Inverse Selection. Next use the Refine Edge tool and create a layer mask. After that apply the layer mask to the layer. Now select each feather with the Lasso tool L and move it across the two documents.

Import three different feathers into the artwork. Place the layers below the base mask group. Use the same techniques as you did when adding ornaments to create shadows on each feather and on the mages face. Use other Transform tools such as Warp to edit the feathers further. After positioning the three feathers, group the layers. When selecting colours to use for painting hair, you can select up to three different tones; namely dark, mid and highlights.

Create a new layer above the ornaments. Grab a 4px hard brush. Paint outside the mages face and make sure to cover up some parts of the mask.

When selecting colours for hair, select up to three different tones. Use dark tones to paint the base parts of the hair, midtones to create volume and finally the highlights to react to the light source.

Create a new layer set the blend mode to Overlay. Select a soft brush with the colour 54ce Now paint over parts of the masks, the cloak and the eyes in order to add colours to the scene. Use a hard brush to colour the parts of the ornaments on the mask but use a soft brush on the middle jewel to create the glow. To make it easier to paint specfic parts, bring back selections from previous layer masks. Create a new layer. Duplicate the layer and place this inside the eye.

Create a new layer and paint the glow of the jewellery using a Screen blend mode and a soft brush with the colour of 55cf Select a big soft brush with the colour 54ce Paint on the left edge of the artwork. Change the blend mode to Screen. Create another layer and paint a small glow. Change the blend mode to Linear Dodge. Repeat the step for the right side, but with the colour bb8. Group the layers and place this above all the layers. Try out different adjustment layers as some are more convenient in tasks like changing hue or editing a specific colour channel.

All the adjustment layers can be controlled by a layer mask, which makes it easier to edit the effect area. Create the Moon by filling a white circle using the Elliptical Marquee tool. Overlap the black circle over the white and merge them. Cut out the white part, and add a white Outer Glow to the Layer Style. Grab the Dodge tool O and paint on highlights to bring in more contrast.

After contrast, select the Burn tool O and paint shadow areas. To do that, open the file in CS6 and create a new layer and merge all visible layers. Adding noise can also help blend colours. Then set the blend mode to Soft Edge and adjust opacity as needed. Create a layer mask and paint with a black brush on skin and eye area. Then create a Selective Color adjustment layer. When you know how to work the subtle magic of Photoshop, you can bring out the beauty in any given piece flaws and all.

When you think about the purpose of beauty retouching, you would most likely want to create the perfect image. However, the truth of retouching lies in the flaws that you leave behind. The real trick of it is to know which details to correct, and which imperfections to leave behind. Whenever you leave behind a stray hair, a birthmark or a simple patch of a models naturally gifted freckles, you keep a photo looking fresh and real at the same time.

Remember, once you are done retouching your photo, your viewer should not be able to notice that anything changed at all, except that the photo looks amazing. Leave a few imperfections to de-emphasise the overall perfection you are striving for.

After all, true beauty doesnt need to call for attention, so why should your retouching? John educates photographers and retouchers by helping them expand their creativity through Photoshop from his website, and the classes he teaches from New Haven, Connecticut.

You may download the main image from this tutorial from http: Compile a list of items that will need to be addressed. Is the overall image too bright, too flat, or even too green? Take note of the following: Armed with the most obvious changes that are needed, you can envision what needs to be worked on first, and what can wait until last. Geometry should often come first. Ask yourself if your photo is tilted, or if the perspective is off. Drag a guide out from the rulers to the centre of the subjects face.

Double-click on the Background layer, then click OK so that it becomes editable. Be sure to click Advanced Mode, and lower the Pressure to You can also centre the lips and reshape them. Remember to go subtly and you should do just fine.

The next issues that you should concern yourself with are your basic colour and tonal corrections. This kind of adjustment cannot always be efficiently done inside Photoshop itself. Camera Raw helps you balance your image with just a few slider adjustments. General changes can be within the Basic panel, but more targeted changes can be done with the Adjustment brush. You can mask different areas and experiment with colour and tone to see which adjustments can enhance the image.

When youre nose-deep in a project, its easy to get lost in the details and forget the overall tone of your image. Sometimes, you need to step back and check how youre doing.

Simply remove the colour in your photo and view the image in black and white. This will help you to understand how the tones affect the image. At this early stage, the tonal balance doesnt need to be perfect. Whats crucial is that youre able to establish how the viewers eye should navigate the image.

Make sure that the face is the brightest area of the photo, i. Be careful not to make the whites of the eyes and teeth too bright, though. They are curves, so there should be some lights and shadows as the objects contour around. The most important areas of this portrait are the eyes, nose and lips. Eyes and teeth are not necessarily the brightest parts, because they will look out of place. However, the centre area of the face would generally be the brightest and possibly the most colourful.

To do this, you should darken the lower areas of your photo with a Gradient inside Camera Raw. This not only adds depth to your image, but it also subtly forces your eye back up to the lighter areas of your models face.

Now that youve got the core issues fixed, its time to start cleaning up your image. Use the Healing brush to remove the stray hairs, the discoloured skin, and the other blemishes. To start, create a new blank layer and name it Cloning always make a habit of naming your layers properly to avoid confusion in the future.

Move fairly quickly through the entire image. Get rid of the worst and most obvious imperfections. Dont worry about the finer details; just do a general clean-up. When cloning and healing, especially in a beauty piece, be sure to follow along the contours of the textures.

Dont just randomly cover over the hairs and blemishes if you dont want your image to end up looking like you went crazy with the Cloning brush.

Try to be as deliberate as you can with each click. Remember that every stroke needs to have a purpose, especially since you want your adjustments to look as subtle as possible. Sometimes the image might not have all the detail you need. Missing pores and other textures are common problems. When that happens, turn to skin grafting.

This is when you take parts from another similar image, and composite them together. By matching the colour and tone, you can blend the similar areas from the two images together. To make the lips of the model look irresistible, soften the lips with the Healing brush. Remove the worst looking cracks, and then replace the lips with a similarly shaped, but nicely lit shine. This will emphasise the lustrous shine on the lips. Doing it this way will allow you to better mix and blend using the various sliders.

There are too many loose hairs, so replace the neck with a similar image. Match the colour and blend in the sides. Other problem areas include the forehead, cheeks and chin. You will need to take a similar image and graft as well. Place the alternate image and use a layer mask to paint details back in. When cloning and healing in a beauty piece, be sure to follow along the contours of the textures.

At first glance, the eyebrows of the model are just too clean and perfect. Bear in mind that sometimes, the most perfect details are the ones that look the most unnatural. To remedy this, replace the eyebrows from another model.

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Correct the colour to match the hairs as well. You can also paint in eyelashes with a very small brush. Use two layers, one for dark lashes and one for light lashes. Then you can adjust the layers opacity as desired. The only time your audience should be able to see what youve truly done is when you show them the before and the after photos that is when they will see the small, but significant, changes youve made.

Parts of the hair are reflecting a warm brown colour, and other areas are a cooler blue colour. Then paint with a white brush, to bring back the warmer brown colour over the top of the cooler areas. This is to make it more consistent. To make the hair on the shoulder more full, add some hair extensions from another model. This tool has come a long way since its introduction and no longer needs to be avoided.

This will allow you to remove the thin hair and let Photoshop automatically match the surrounding areas. Continue to remove stray strands by cloning in the areas where hair generally goes in one direction and random ones go the other way.

Many, but not all of them, need to be removed. One way to Dodge and Burn is to use Curves. One Curve should be pulled up for lightening, while the other Curve pulled down should be for darkening. The eyes are the windows to the soul, so pay as much attention to them as you can, especially in a beauty piece. To truly make those eyes pop, add highlights and shadows to them with a dodge and burn technique.

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If youll notice, the eyes from the original image were flat and lacked any real punch. By adding lights and shadows, you can add more contour and curvature to otherwise dull features in your beauty model. While you are doing all of these general adjustments in tone, dont forget to do the same for the face of your model as well.

Go ahead and add some lights and shadows to the face. You may be able to use the same Curves layer that was used for the eyes if you want. For more control, create a new set of light and dark Curves just like before. When you have finished all the retouching and want to call this image complete, do one last thing to really help it sing. Photoshop will merge a copy of all visible layers onto a new layer right on top.

Leave the blur at 15px, and click OK to add Depth of Field. There will likely be misplaced layers, incorrect cloning and frustrating do-overs. As you work on a variety of images, knowing how to use all the sliders and buttons in Photoshop is important.

But even more so, you need to create a workflow that will give fast, consistent and repeatable results. For example, create a list of changes to use as a guide so you dont miss anything. Use Smart Objects and adjustment layers for non-destructive editing. Finally, learn and rely on techniques that prove themselves invaluable.

Notice how the colour palette of this image mixes yellows, reds and browns. Did you find it odd that the overall palette is a very monotonous colour scheme? That, too, is deliberate.

The only deviation is the eye colour. While it still has some brown in it, it is the only area in the entire image that uses green. With the face being the brightest part of the image, it naturally draws the viewers eye in. Its this shift in colour that further refines the important area of the portrait.

Double exposure, as youve probably already surmised, is a blend of two images. It seems to have taken root as the blanket moniker for this style of blended imagery, whether there are just two or many images at play. Photoshops arsenal of blend modes and layer tricks makes it very well suited for pulling off these types of effects. Stacking images, playing with the various blend modes, and masking unneeded areas is the fundamental workflow for. Here well blend an owl with some scenes from its habitat using the described battle plan.

Adjustment layers and filters will then be employed to lock down the look. After completing the tutorial, try creating your own blends with complementary or dissimilar subjects. Although jarring mash-ups can occasionally be the disappointing result of your blending, stick with it! Elegant and sometimes haunting juxtapositions are up for grabs to those who persist. A good artistic eye can help your judgement in selecting compatible images, while luck and experimentation can lead you to unexpected beauty.

He enjoys sharing his techniques with our readers. The owl and starting PSD, along with the additional images for blending within the owl, are available from the FileSilo.

Feel free to incorporate your own imagery into the mix. Open Owl. Use the Quick Selection tool to select the owl. Play with Adjust Edge settings. To fix areas, click mask and use the Brush tool with a Soft Round brush to paint black to hide and white to reveal.

Adjust brush size opacity as needed. Save and close Owl. The scale up, position, and confirm. Press the Add layer mask button in the Layers palette. Select the lower layer and apply Color Overlay via the layer palettes fx button. Pick black then click OK. Now paint black in both masks to reduce. Set to Lighten blend mode. Place Tree. Set to Hard Light blend mode. Paint black in both masks to reduce. Place Paper. Select the owl again and add a layer mask to this layer. Place Mountains2.

Set to Multiply blend mode. Paint with white to add. Set to Pin Light blend mode.

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So far we have an icy mountain range and a skeletal tree. It might be looking a bit bleak, so lets remedy that. Go ahead and place Trees. Position and confirm. The lush leaves will add some life and vigour to the emerging blend, and the green is a refreshing addition to the palette. Well continue to add more vitality with subsequent blending. When playing with images, especially during the initial deployment and arrangement stages, keep your layers as Smart Objects.

Unless youre running out of hard drive space, resist the temptation to Rasterize. Youll be able to scale and transform with impunity, always maintaining the original integrity of the images. The owl has become buried under the onslaught of nature images. Its time to reinforce it. Now, paint back with white, focusing particularly in the facial area to restore the eyes and beak.

Lightly paint white in other areas such as the sides. Now that weve re-established the owls features, lets add more images to blend inside the owls body. Place Base. Scale down and position so that the arc of trees fits inside the bottom of the owl. Confirm the place. Paint black to fade the top. Place Cliffs.

Set to Soft Light blend mode. Select the owl again and add a layer mask. Paint black to remove unneeded areas. Place Sky. Paint black to reduce. Place Water. Set to Overlay blend mode. Lets now use the interesting Divide blend mode to help add some lighter areas.

While this blend mode may be somewhat tricky to use in everyday photo editing, itll be put to good use here to produce some nice highlights. Set the blend mode to Divide. Paint black in the mask to reduce the lightening, paint white to add or restore. An artistic eye is helpful, but luck and experimentation can also lead you to unexpectedly beautiful results.

The owl was duplicated and brought above to reinstate its features. It was buried under the initial barrage of blending. Skeletal trees add vein-like detail while lush forestry provides a nice border at the bottom and vitalising colour in the centre. We merged some mountain scenes into the mix, from the majestic peak at top to the foggy base at bottom. At this point, it looks like we need to bolster the sides of the owl and make the top more scenic.

Place Trees2. Select the original owl again then add a layer mask. Paint black to restore some of the interior detail from the image underneath. Next, place Cliffs.

Position the sky and cliff so they are in the top of the owls head, then confirm. Lets add a bit of stars and sparkles to make that sky area in the owls head a bit more enchanting. Place Stars. Now paint with white paint in the stars. You can even paint a bit outside of the owl, spilling the stars subtly into the background. You may need to reposition the layer with the Move tool to get the stars arranged nicely. Were about to head into the final stages of this project where well apply a battery of adjustments and filters to nail down the look were going for.

At this point, take some time to go through the composition and scrutinise the arrangement. Because we havent Rasterized any of the images we placed, were free to Scale and Transform without fear of blurring pixels.

Make sure to zoom up close and examine mask edges for faint lines you may have missed. Lets begin our adjustments.You may use the same mask the rest. Jeff Ludes about to write a piece of music and assess what needs to be done and weigh that against my confidence to be able to do it. Use two layers, one for dark lashes and one for light lashes. Brian Konoske. Wooden objects make up so much of our lives, yet are so rarely seen in our digital work.

Add a Comment: To paint realistic hair, there are a couple of things to watch out for. This brings back definition, and as you can see from the main Color histogram, balances the colours of the image in relation to how they appear in the individual channel histograms below.

Make a flattened S shape with the Red Curve. Adjusting the UV properties is another way of introducing visual variety when using the same texture in multiple places.