Technique

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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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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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The most interesting part of a Photo

Saturday, March 6th, 2010

I was reading a missive only recently (sorry, have absolutely lost the link), and came across a nugget of semi-wisdom: it was posited that the most important (or interesting) part of an image is the background. This struck me, as I’ve heard similar thoughts from a variety of photographers.  Shortly after the article came out, I came across a black-crowned night heron.

Now, here’s the thing.  I had a decent (400mm) lens with me,  and actually had a decent opportunity to catch a good shot.  So, first thing: just catch the guy, right?  Here was the initial result:

Black-crowned heron, first take

Black-crowned heron, first take

Click to continue »

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Lighting Vegemite

Sunday, January 17th, 2010

Photographically speaking, different people know me for different reasons. Some see me as primarily an outdoors photographer (landscapes, wildlife), others as a portraitist (which is actually rare), yet others as a small studio-style (still life) photographer. In reality, of course, there is no delineation – it’s just one person doing whatever he feels like.

Due to my strobist-style activities, however, people do have an expectation that use a fairly professional setup for most shots.  So the question came up: what flashes & pattern did you use to create such soft, low-contrast light in the How to Eat Vegemite shots?

The answer: Click to continue »

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Shooting with both eyes open

Thursday, June 25th, 2009

I read recently on Jim Goldstein’s site his post on photographing the unexpected. The thing that jumped out to me was he recommended keeping both eyes open when shooting:

One of the most common mistakes I see photographers make is to get lost looking solely through the camera viewfinder. If you are only seeing the world through your viewfinder you in essence suffer from tunnel vision… literally. Rather than only looking through your viewfinder be sure to use your other eye to survey your surroundings. Is anyone on the fringe of your photo that will either detract or add to your photo?

While I freely admit that I’m not sure about this all the time, it’s certainly something I’ll be trying.  Follow the link to his “Photography, the art of being prepared” post you’ll notice he comments on photographing a child.  I’m sure that’s where my practice will be taking place.

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