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Selective Color in Minutes

Friday, July 9th, 2010
Trail closed, selective color

Trail closed, selective color

Or seconds, as the case may be. You may remember this post from a few days ago. It was also posted to my photostream on Flickr, where one of the comments expressed surprise that the selective coloring took no more than a few minutes relative to the rest of the image (total time was two hours).

The trick to getting the selective color so quickly was twofold:

  1. I was fortunate in that the image is almost monochrome already (remember me saying that before?).
  2. I was using Photoshop CS5

To explain: if I were to do this quickly, without the editing out of distracting objects and fine-tuned sharpening, the steps to create this would boil down to:

  • Duplicate the original layer;
  • Convert new (top) layer to B&W;
  • Add a layer mask, showing all grey;
  • Punch holes in the mask to let some color through;

Looking at it like this, you would think that I hand-painted each bit of color.  This should take a lot of time, no? Well, doing it that way would take a lot of time.

I did it a better way.  Remember that this is essentially a monochrome image.  Mostly green, with some blue and some orange.  That means we can almost safely use the Color Select tool in Photoshop to select the individual elements.  The sign, for example:

  • Open Photoshop.
  • Click “Select” in the menu, then “Color Range.”
  • Click anywhere on the orange areas.
  • Move the “Fuzziness” slider until all oranges are selected (you’ll get part of the trail and a few trees, too).
  • Use the lasso tool (or marquis, which is what I used) to unselect (alt-click & drag) everything that I don’t want.

Repeat for the blues.

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Selective Color is so Cliche.

Saturday, July 3rd, 2010

Yet, sometimes it is appropriate.  The example commonly used  is to draw attention to something, such as a rose in a bride’s hand.  This has been done so many times, it has become cliche – almost everyone has one.  As a result, I tend to avoid this technique like the plague.

However, it is occasionally appropriate for a given photo.  For example, a photo that is already essentially a monochrome, despite being in color. Click to continue »

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Creating a Cyanotype with Nik Silver Efex

Sunday, June 27th, 2010

Continuing and contrasting with the concept in yesterday’s post, the concept of cyanotype processing. Except, unlike in the link just preceding this, I refer to *digital* processing of a cyanotype.

Following the duotone instructions, it’s certainly possible to achieve a similar result, but it’s not really true-to-form.  Then again, nothing in the digital world is. But the folks at Nik have done a pretty good job of getting close with their Silver Efex pro tool. Click to continue »

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How to Convert your Color Image to Duotone

Saturday, June 26th, 2010

Duotone. I suppose the first thing to say about them is to take a look at a few, to get a feel for what a duotone is.  The Wikipedia link gives a good idea, with a pretty good example.

It’s pretty easy to make a duotone in Photoshop – I’ve been using PS since version 5.5 and I don’t remember it *not* being there (although I didn’t really use it until CS2 came out, so my memory may be faulty).  The effect can be quite nice, and it’s a favorite technique that I often use with infra-red photos.

So, how to convert your  image: Click to continue »

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Photoshop CS5 and Content-Aware Fill

Sunday, June 13th, 2010

The transition from CS4 to CS5 seems to be going pretty well – there are a few changes, but nothing that’s really thrown me for a loop. A couple things are extremely (potentially) cool, in the sense that it takes very little time to issue certain fixes.  Take the image below, for example:

A View from the Kihei Boat Harbor

A View from the Kihei Boat Harbor

This is a crop from the original, but it has the important part (I’ll post the non-cropped version in a day or two).  Take a close look at the palm trees: looks like a great silhouette of a lone palm, right?  Well, the reality wasn’t so: there were two bunches of palms, one just to the left of the ones you see here.  I didn’t like these extra palms – I felt it distracted from the overall feeling of individual oneness: one set of palms, one Molokini, One Kaho’olawe, one ocean… so the extra palms needed to go.

Click to continue »

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HDR Merging comparison

Sunday, June 6th, 2010
Underwater HDR, Redux

Underwater HDR, Redux

Following up on the thoughts on this post, witness the  image to right.  Now, I’m not claiming it’s the best image, nor am I trying to even state that I’m done with post-processing.  I am, but only because I’ve decided I’m not happy with the composition.

But I am happy with the results of my tests.  In this case, I now know: when doing handheld bracketed shots, Photoshop CS5′s “Merge to HDR Pro” function is incredibly more useful than Photomatix 3.2.  It’s not just the ghosting, although that sure cleaned up a lot.

No, it’s how easily CS5 finds like components and merges them together.  Seriously, it’s just incredible: this is a three-frame HDR, in JPG.  Compare the sharpness (not the contrast) and the merging to this: Click to continue »

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Evening HDR in CS5

Saturday, June 5th, 2010
Evening HDR

Evening HDR

Just a test shot that I thought I’d post. I may be putting up a couple more over this evening. Testing CS5′s “Merge to HDR Pro” function, comparing it to Photomatix Pro. This one is an excercise in rescuing a screwed up frame: I had the color balance set to tungsten when I took this, so everything was hyper-blue. Arguably still is, but that’s the HDR saturation effect. Click to continue »

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This just slays me

Tuesday, June 1st, 2010

Check out this site. Seriously, just do it.

Gotta love “Photoshop Day Cream”…

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Complexity in Photographs

Tuesday, March 16th, 2010
Reflections at the Koi Pond

Koi Pond Reflections

Permit me, if you will, the opportunity to share a failure with you.  The image (to the right) is to what I refer to: abuilding reflected on a koi pond.

This was taken at sunset on our recent trip to Hawaii.  The sun had just passed behind a building and the reflections were strikingly strong.  There is no amplification of the effect here. A quick shot and on I went, chasing a tired 5-year old.

Looking at it later, I noticed that something was… missing.  But what? Click to continue »

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The One Thing that sets your photos apart, technically

Sunday, January 31st, 2010

It’s not your camera. It’s not your lens.  It’s not the paper, or the printer, or the print lab.

It’s your post processing. Click to continue »

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