If an image needs heavy composite work to swap a sky or clip out a subject, of course it’s Photoshop to the rescue. But what about the creative editing of tones, color grades, dodge and burn, HDR, sharpening, etc.? Can we really work in Photoshop to prep and go back into Lightroom and get good results?
Adobe Camera Raw is the solution for nondestructive editing from Lightroom to Photoshop using Smart Objects. This is useful for Lightroom to Photoshop, but what about Photoshop actions into Lightroom? Adobe’s recent improvements give us the ability to create Custom Color Profiles in Camera Raw, so we can flex our creativity with Photoshop actions and Custom Color Profiles by exporting Look Up Tables, or LUTs. This is a massive overhaul for Photoshop that makes our Lightroom workflow even more powerful.
To bring a story to life through composite art in Photoshop, I often begin with the existential question: What is speaking to me? This doesn’t always come in the form of a place or location, as it did for Sal that day. The spark of an image can begin with a single emotion, a piece of music, a line from a play.
To build the right post-production workflow, we have to look at what we want to accomplish as an end result and where we can save the most time. As a Lightroom user, I feel like I’ve milked as much efficiency out of this program as I can, but because of the back and forth with Photoshop, I have to create different workflows. Within these workflows, I have to rely on Photoshop Actions to streamline each edit, but what about large batches of images? We’re in wedding season and I’ve got over a thousand images ready to export out of Lightroom!
I began teaching myself how to retouch images with Photoshop version 4.0 (Photoshop CC 2018 is considered version 19). To this day, I still use some of the original processes and tools for retouching. In this article, I discuss the most important step in retouching, then explore the basics of retouching skin, enhancing eye color with blending modes and layer masks, and, finally, problem-solving stray hairs.
To make a beautiful composition in Photoshop, a photographer needs time and the necessary skills, to be sure. But perhaps the most important piece of the puzzle is to have vision for the image. What’s the story you want to bring to life? Who are your characters? Where do they come from? Here are five steps to creating alternate realities in Photoshop. By following these suggestions, you can bring other worlds and characters into focus (and possibly inspire other up-and-coming composite artists).
Our mission at So Many Angels is to use photography to transform children battling cancer into whatever they want to be when they grow up. We are still in the launch phase, and I want to share some of the steps we have taken to hopefully become a brand that is recognized for being the best at what we do. This article is not about the legal stuff you need to do to be recognized by the IRS as a 501(c)(3) charitable organization. These are just some thoughts that are fresh on my mind since the year I started sharing my dreams of this organization with others. Hopefully something here will help start you on your way.
A commercial or editorial client will likely require editing images for a greater dynamic range. In that case, you will want to know what your editing options are after the shoot. Ideally, you want to work with a tripod to give yourself the most flexibility in stopping down your aperture, staying at a low ISO and taking long exposures. Long exposure sometimes removes your option to shoot handheld. Let’s look at some options for multiple exposures and how we can merge these files.
Black-and-white conversion is an art, and the art is in determining how each color is rendered in black and white. Say you have an image of a beautiful landscape with a deep blue sky full of fluffy clouds. When we convert that to black and white, the blue sky loses its color. Now, I have a question for you: How will the blue areas look in black and white? Will they look light gray? Dark gray? White? Or maybe light gray with a slight gradient of dark gray? Making these decisions for how each color will be rendered is what makes black-and-white conversion fun.
When you retouch clients, your changes can’t be noticeable. When it’s obvious that an image has been altered from reality, it’s just tacky. This article takes you through the do’s and don’ts of Liquify and how to navigate through the Liquify panel in Photoshop CC.