Category Archives Photoshop

Yes, it’s me again! Dave Williams, the #TravelTuesday blogger here at Scott Kelby’s Photoshop Insider, and freshly appointed editor at LayersMagazine.com. I’ve kicked off a new series of #MondayMotivation posts over there and I’d love for you to go check out the first one by Gilmar Smith!

I’m fresh back from a mission to Turkey where I predominantly shot the hot air balloons over Göreme in Kapadokya. It’s home to the densest hot air balloon airspace in the world, with the dawn skies filled with them.

The town is unique in that the buildings are carved and tunnelled into the rocky landscape. I’ll share more about it over on my blog, capturewithdave.com, another day, but today, right here, is all about this shot from the trip: –

 

 

Here’s the caveat, and it’s very important you aren’t disappointed by this: So, you know how this blog is entitled, “Scott Kelby’s Photoshop Insider,” right? The clue’s in the name.

 

 

This is a composite of two images: one of the cave interior and one of the balloons in the sky. Now, I’ll say at this point, anticipating any comments about how I shouldn’t be faking this, that actually it is a view that is attainable at this location. I just wasn’t in the caves at the right time of day to see it! I was limited by time and didn’t know my way around to find the right spots in the dark before dawn. Anyway, here’s the tip: –

We’ll use a different pair of images, which you can download the PSD file here to try it yourself.

When compositing images, it’s obviously very important to make the result look convincing! As well as good cut-outs and realistic placement of elements, matching the tone is very important. What I’m going to show you is a very quick, very easy, and very good way to match those tones.

First off, get everything cut out and in position.

 

 

The layers are set out in no fancy way for this technique; they’re simply stacked in order. On top, create a new layer and fill it with 50% gray.

 

 

Now, change that new layer’s blend mode to Luminosity. The colours will change, revealing the differences going on in your image. To see them more clearly, add a Saturation layer to this and boost the saturation right up. What we’ve done here is create a representation of the colour in the image.

 

 

From here, add a Selective Colour adjustment mask. When faced with the Properties panel, select the Neutrals from the Colours option, which actually contains most of the colour information. Adjust the sliders to balance out your image and match the colours – it’s hard to explain it because it varies wildly on an image-by-image basis, however when you do it and see it yourself it’ll make sense, I promise!

 

 

The Layers panel should look something like this one below. And, to finish off the image, we just need to remove the Hue/Saturation layer and the gray layer.

 

 

This leaves us with an image which has balanced tones, leaving it looking realistic.

 

 

It’s a simple and fast way to balance tones in a composite, and I’d love to see how it works for you!

Now, this experience is called a “once in a lifetime” thing, and that played on my mind when I was out in Turkey. I wrote a little piece about that, which I’d love for you to read over on my blog.

So, for now,

Much love

Dave

Before we get to today’s tip: just a heads up: Today the last day to enter for your chance to win the same Profoto B1x Strobe I used in that behind-the-scenes fashion shoot video I shared here on Friday. It’s not a photo competition, it’s a straight-up giveaway, so all you have to do it enter for your chance to win. Click on the graphic below, or go to this link to enter right now. Hey, ya never know — you could be the person to win that awesome Profoto B1x.

OK, on to today’s tutorial
I wound using Photoshop’s Content-Aware SCALE last Friday when I was creating the YouTube Thumbnail for my Behind The Scenes shoot, and the image didn’t fit like I wanted it to. After it quickly fixed my problem, I was once again reminded of what an extraordinary feature it is, and how little-used, or even known about, it is. So, today, I’m showing you how to use it, including a few tips that make it even better. Check out the video below:

Hope you found that helpful!

Hey, Lightroom Users in the Washington DC area:
I’m coming with there with my full-day Lightroom seminar on Friday, August 17th. Come on out.

Have a great Monday everybody!

-Scott

Hello, internets! It’s #TravelTuesday again, so I’m here to impart some kind of wisdom onto you, and today it’s all about tweaking colour with Camera Raw’s Hue sliders. But first!

I’m writing this post from a Starbucks just outside of the Loch Lomond and The Trossachs National Park in Scotland, fresh from an overnight stop before I head farther north towards the Isle of Skye. I’m shooting a couple of little projects involving drone photography and Platypod tripods. You can keep up with what I’m doing on this trip by following me on social media (look for @capturewithdave) and by watching the @kelbyonepics Instagram story!

On with the blog!

The HSL  (Hue/Saturation/Luminance) Adjustments panel in Adobe Camera Raw is very useful, but perhaps most confusing are the Hue options. While the Saturation and Luminance sliders enhance the colours, the Hue sliders actually change them. There are some pretty powerful things you can do with the Hue sliders—you can even change the seasons in post if you tweak the colours the right way.

What’s actually happening when you adjust a colour slider in the Hue tab is that you’re moving its position on a colour wheel. In terms of its practical application, I’ll use the Hue sliders to adjust this photo and make the grass greener, whilst maintaining the other colours.

 

 

In this shot, the tones up in the sky are beautiful—the sun lowering in the sky (it’s 9pm) is casting a fabulous orange glow—but I feel like the grass should be just a little bit greener. We can take advantage of the Hue sliders and make this adjustment easily right in Camera Raw.

 

 

Using the Hue sliders to shift the colours within sections of the colour wheel, if we move the Yellows slider (the colour of the grass in this case) towards the green end, and compensate with the Oranges and Greens sliders to maintain the actual green and retain that orange in the sky by moving those sliders away from the yellow ends, we’ve easily achieved our goal! It’s as easy as that!

 

 

 

That grass is now greener, which to me is more realistic and more pleasing, and all it took was an understanding of what’s going on with the Hue tab’s sliders.

Much love

Dave

This trick, in particular, is for that nasty noise you can sometimes get in long exposure images — especially if you have to brighten the image, but it can work in all kinds of instances.

Now, before I show you this trick, I do want you to know that I normally don’t mess with trying to fix noise in my images. It has to be really, really, really bad for me to even try to deal with noise, because (1) noise reduction techniques and plug-ins simply blur your image to hide the noise, so you’re trading one bad thing for another, and (2) only other photographers even notice noise — the public is pretty much immune to it, but in the case you’re going to see below, I would (and did in the final image I posted on Instagram), fix the noise, but I didn’t use a noise reduction scheme, which is what makes the trick so helpful. Check it out:

Hope you found that helpful (and I hope you listened all the way to the end). :-)

 17-days to the Photoshop World 2018 Conference
It’s not too late – you can still come and join us for three days of Photoshop, Lightroom, Design, and photography training from the best instructor roster ever assembled. May 31-June 2nd in Orlando, Florida. Details, travel info, and tickets at http://photoshopworld.com

Have a great Monday everybody – I’m on my way to Salt Lake City for my seminar there tomorrow. Hope I see you there!

Best,

-Scott

 

Hey there! It’s me again, Dave Williams, which means it’s my favourite day of the week – #TravelTuesday – and that means I’m here, in your face, at Scott Kelby’s Photoshop Insider!

Now, if you were following along, you know that I jumped on my Triumph and spent nine days riding from London to the Atlantic Highway in Norway – 3,100+ miles if you’re asking. And guess what…I’m back! I’m still trawling through hours of footage to make a cool video to show you all, so keep an eye on my Facebook page to see when that lands. But, for today, I’ve seen inspiration in the amazing sunny weather we’re having here in London and I want to share with you this amazing little trick!

So, you know when you shoot into the sun and you get that cool bright spot and a little lens flare? Well, that’s what we’ll create here, so go ahead and choose a suitable shot or download mine right here. (Use my shot for the tutorial, use it to show us how you get on with the tutorial, but sell it and I’ll find you!) Let’s go!

First up, the prep: Open the shot into Adobe Photoshop and duplicate the layer with CMD + J (Windows CTRL + J), so we work non-destructively, then press D, then X to set your Foreground colour to white.

 

 

Down at the bottom of the Layers panel, click on the Create New Fill or Adjustment Layer icon and then choose Gradient from the pop-up menu.

 

 

In the Gradient Fill dialogue, set the Style to Radial. When that’s done, you can go ahead and move the radial gradient in the image, behind the dialogue, by clicking-and-dragging it, setting it up at the spot you want it. Next up, click on the Gradient thumbnail and a new dialogue will pop up.

 

 

What we’ll do here in the Gradient Editor is create a custom gradient just like I’ve done above. It’s tricky to explain in writing, so focus! To do this, first, select the left colour stop (the square at the bottom left of the colour ramp), then click on the Color swatch and, in the Color Picker, set it to a yellow that’s almost white. Now, select the right colour stop and set its colour to a midtone gray.

So far so good. We’ve set the centre point to a very bright colour to emulate the sun and set the outer edges to a gray, which will fade out. Now, select the centre colour stop (if you don’t have one, just click below the centre of the colour ramp and one will appear). Set this one to a very light orange, then slide that colour stop towards the lower end of the colour ramp. We’ll create two more colour stops to add some realism to what’s becoming our sun glare. We create them by clicking below the ramp, and when we select the colours, we stick with slightly different tones of yellow or orange. The result we need to achieve is that the spectrum of the gradient is very bright at the centre, the left, then changes to a darker and more orange colour for the first third, then fades to more of a yellow or even peach colour throughout the next third, and fading towards the right. Make sense? Thought so!

 

 

When we’re happy with the custom gradient we’ve made, hit OK and we’ll be taken back to the Gradient Fill dialogue. Here, we can change the Angle to suit the position within our image, and we can make it larger or smaller with the Scale adjustment. I’ve pushed mine to 120% here. When you’re happy, hit OK.

 

 

Now, near the top of the Layers panel, change the blend mode to Hard Light.

So, we’ve got the sun, and the glow, but we’re missing something. We can step this up now by adding a lens flare, so let’s go ahead and do that, too!

Click on Layer 1 in the Layers panel, and then select Filter>Render>Lens Flare.

 

 

I find that the most effective Lens Type here is the 50-300mm Zoom, so that’s what I’ve used but you can choose whichever suits your image. In the preview box, click on the centre of the sun, the gradient filter, and it will become much brighter and throw the lens flare across the image. From here, we’re almost finished; we just need to adjust the Brightness to suit the image. I’ve set mine at 125%, but set yours wherever it works and hit OK.

 

 

And, we’re done! We’ve added a very dramatic, warm, and convincing glow of the sun to our image. I hope you like it! Show me how you get on by tagging @capturewithdave when you upload to Twitter or Instagram, and until next week…..

 

Much love

Dave

 

PS – Here’s a top secret Platypod tip. Don’t tell anyone!

Happy Friday, everybody. I have a little video I made for you today, to talk about a feature Adobe added not long along to Photoshop CC, but I talk to people all the time who have no idea it’s there, and so, of course, they’re not using it. In fact, I can’t find hardly anyone using it, but it’s so awesome I use it all the time, and I think you’ll love it, too.

Check out the video below (it has other cool tips in the video as well).

Hope you find that helpful.

If you’re into Lightroom, and you live in Hartford, I’ll see ya Monday!
Well, I hope you’re one of the coupla-hundred photographers already signed up for my full day of Lightroom training there on Monday. If not you’re not too late. Next stop after that, Salt Lake City in a week or so. You can get tickets for either one right here.

I’ll be teaching Lightroom for three days in Orlando at the end of this month
It’s the biggest Lightroom training event the world, and it’s just a few weeks away, but it’s not too late – you can still sign up and be there to learn more about Lightroom in three-day than you have in three years. It’s called the Photoshop World Conference, and an entire training track is dedicated to Lightroom. Details and tickets here. 

Have a rockin’ weekend, everybody. See a bunch of you Monday in Hartford! :)

Best,

-Scott

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