I bet you love long exposure photos. Who doesn't? But sometimes you discover just after you're back at your computer that a particular scene would have made for a great long exposure. Maybe you just did not realize it while you were at the location, maybe you had no ND filter with you to get those nice long shutter speeds and create a long exposure. Bummer! But maybe not all is lost here... In this featured video tutorial, Blake Rudis shows you how you can still create a long exposure effect in Photoshop from a regular (short exposure) photograph.
Digital blending is a technique by which you blend selected regions of one photo with regions from another photo to combine the best aspects of both images. Of course, this is also possible for set of more than two images. One typical use case is manual HDR where you blend the well-exposed areas of each photo in a bracketed series of shots. But digital blending techniques are not only applicable to multiple exposures. While that's usually how these techniques are used, you can actually use the same technique to blend a single photo with itself, or rather, with a different version of itself. In the video below, Jimmy McIntyre shows you the basics of this technique.
In Photoshop, there are many different techniques to dodge and burn an image. You may know the Dodge and the Burn tools that let you work directly on an image layer to darken or light areas selectively. The problem with the direct application of these tools is that they are destructive. This means, they directly change the image pixels and you cannot really undo or change them once they are applied. In this article, you will learn 4 different techniques by Photoshop masters for actually applying dodging and burning non-destructively. These are very important skills that will make your workflow faster, more flexible, and more robust, no matter which type of photography you are into.
You may have stumbled across the Blend-If controls in the Layer Style dialog box in Photoshop. But chances are that you did not even notice them, let alone recognized that they are actually a very powerful tool. Blend-If is one of those tools that is not self-explanatory and that does not make you want to use it straight away. The reason is that, by itself, it does not do a lot other than letting you select a range of tones where the layer and the layer below are going to be blended together. Sounds cryptic? Watch the two videos in this post to gain some insights into this tool.
The Orton effect is visual effect that you can apply to your images to give them a nice glowing appearance. When Michael Orton invented this look, he would take two film slides - one in focus, the other one out of focus - and blend them. Today, applying this effect in Photoshop is quick and easy. In the video below, Jimmy McIntyre demonstrates how to do it by creating a duplicate of your images layer, setting the right blend mode and applying some Gaussian blur.
Creating an interior panorama does not only require great precision when you shoot the source images - it also requires some advanced techniques for stitching and post-processing the final panorama image. The close proximity of the different elements in the interior to your lens and the geometry of most interiors reveal even small mistakes in this process. In this video tutorial, I will show you how to correct these mistakes by using powerful techniques for transforming and cropping your final image. You will learn how to create perfect interior panoramas - images that you can be proud of. The techniques will even work for single images.
This is a 3-shot panorama of the interior of Solitude Palace just outside of Stuttgart, Germany. The source photos were shot just after sunset which created this nice golden glow because the interior was lit only by the lamps that you see in the image. Some of the lighting effects were also added in Lightroom during the post-processing stage. I will publish a tutorial on this type of re-lighting soon.
Blending selective adjustments into an image in Photoshop is one of the key skills you need to master. But what are the tools and techniques you need to really control the area and the intensity of an adjustment you blend in? In this video tutorial, I am going to show you a simple and yet powerful technique to gently blend in any adjustment layer and give it just the right strength. I am going to use a Quick Selection and the Brush tool to brush in a Curves layer in a very controlled way.
In this video tutorial, Nathaniel Dodson from Tutvid.com shows you how to select fuzzy hair in Photoshop. This is one of the most hairy (excuse the pun) tasks for a retoucher, and it comes in different variations. Maybe you're not selecting hair but fur, trees or clouds. All of these objects can be very hard to select. Check out how Nathaniel uses the Quick Selection tool and the Refine Edge tool.
There are a thousand ways to create a layer mask in Photoshop. Many of them will yield a gray-scale mask with many shades of gray, and it can be a bit difficult to get the contrast of such a mask just right so that you have solid black where you want to hide the layer and solid white where you want to reveal it. In this excerpt from my Mask It Like a Pro! video course, I will show a neat little trick that allows you to get the perfect mask in such cases. I am using the Brush tool with Black and White as the color. The trick here is to set the mode of the brush to Overlay.
Non-destructive editing techniques are vitally important in Photoshop to ensure maximum flexibility and efficiency. If you edit your images destructively (altering the actual pixels), you cannot go back, and you cannot change your edits individually in case they do not play out the way you planned them. Consequently, there are a lot of tools in Photoshop that allow you to edit your images none-destructively. But what about the layer masks you create? Do they allow non-destructive editing too? Sometimes, creating these masks for certain areas takes longer than the actual adjustments. Unfortunately, Photoshop does not provide any dedicated means for editing these masks non-destructively too. In the video below, however, I will show you a simple technique for combining two or more masks while retaining each of them so that you can edit them later if you need to.
Frequency separation retouching is an amazing technique for separating two main tasks of retouching in general: editing the fine details in your image and editing the tones, shadows and colors. In many cases, it can be hard to get both right at the same time if you are using conventional retouching techniques. If you are using the frequency separation technique in Photoshop, however, you can divide your image into two layers: one that only holds the fine details and one that only contains the tones and colors. Those can then be edited separately and independently of each other. In this featured video, Aaron Nace from Phlearn.com shows you how to use frequency separation on a portrait in Photoshop.
In this excerpt of a CreativeLive class, Jack Davis shows you that the lighting that you captured in your images is not carved in stone. He shows you an interesting HDR workflow where he blends three exposures from an interior scene. Instead of simply merging them and letting the tone mapping decide what the final look will be, he takes control by blending them manually. By doing so, you can create light where you want it and give a scene a whole new mood.
If you are into landscape photography, the subjects and the creative possibilities are endless. How do you shoot the different scenes in order to end up with the image you have in your head? What are the shooting techniques and the tools? And last but not means least, how do you process your images to give them their final look? Wouldn't it be awesome if you could just go out with a world-class landscape photographer and watch every step? Wouldn't it be great to watch over her shoulder when she post-processes those images on the computer to pick up all those little tricks? This eBook and video series by Nicole S. Young gives you exactly that: A deep insight into how it's done and what the right tools and techniques are to make your landscape photos really stand out.
If you want to start a career in commercial photography, the video collection Designing an Image is going to be an invaluable resource for you. In her 7-hour video course, Lindsay Adler takes you from the very basics of working in fashion and commercial photography all the way to the intricate details of lighting a scene and to diverse retouching techniques. But this course is not only targeted at the aspiring fashion photographer. It is much more fundamental than that since it takes you through the thought process of creating an image. Lindsay shows you how to come up with an idea for a photo, how to turn that idea into a concept, and what it takes to get from that concept to your finished image. You will get lots of lighting tips, and you will learn new professional retouching techniques.
A shallow depth of field is a great way of separating your subject from tze background and creat that popular creamy soft background in your photos. But sometimes, you are forced to shoot with settings that do not allow you to create a shallow depth of field, for example when you have to close your aperture down in bright conditions. In the featured video below, Aaron Nace from Phlearn.com shows you how to add a "fake" shallow depth of field look later in Photoshop.
Many photographers use either Photoshop or they use Lightroom. But since Adobe offeres their photography plan that gives you Photoshop and Lightroom together for an attractive monthly fee, the number of photographers who own both programs is growing. In the featured video tutorial below, Colin Smith from Photoshop CAFE shows you how the two programs integrate beautifully with each other and how they complement each other.
Glyn Dewis is a photographer, retoucher and trainer from the UK who is well-known to go beyond just taking a photo and doing to usual retouching on it. Follow his tutorials to learn how to do more than that with your photos. In the video below, he shows you how to take a day-time photo and turn it into a night-time image - something that you probably never even thought about doing. But with some amazingly simple tricks, you can take a mundane photo and turn it into something really interesting.
In this featured video, Photoshop Principal Product Manager Bryan O'Neil Hughes shows you how to apply focus stacking to a series of images that was shot at a very shallow depth of field. The resulting image has a much larger depth of field than any of the source photos. Focus stacking is probably one of the unknown gems in Photoshop. At first glance, it really seems like this is a highly specific tool that you probably never need, right? Well, not so fast. What this tool allows you is to take a series of photos with a shallow depth of field and varying focus (different elements are in focus in each of the images) and combine them seamlessly into a single image where everything is in focus.
Creating an HDR image is typically involved with a quite time-consuming workflow that consists of merging, tone-mapping and post-processing, possibly spanning several different software programs. But especially if you are creating a night HDR, there is a much simpler and quicker way of doing it, and your final image will also look more natural. In this excerpt from my video course Mask It Like a Pro! I will show you this technique that works by creating luminosity masks straight from the images themselves and using these masks to reveal only the well-exposed parts of your exposure series.