Most articles on color management focus on the issues of reproducing product colors or skintones. But studio and portrait photographers aren’t the only ones who face color management issues. Even though wildlife doesn’t come with a set of Pantone chips that need to be matched, accurate color management and a full color-aware workflow is essential to creating the best possible wildlife and nature images.[Read More]
Photoshop: once the be-all and end-all of digital imaging; but no longer. There have always been Photoshop competitors, but none ever had the feature set, or the market reach, to seriously compete with Adobe’s flagship image editing application. But what competition alone could not alter, is changing over time, with other shifts in the industry.[Read More]
The blending modes in Adobe Photoshop offer countless possibilities for creatively transforming your photos, as well as providing practical solutions to some real world imaging problems that may crop up from time to time. In the 2nd edition of Photoshop Masking & Compositing, which I co-authored with Katrin Eismann & James Porto (Peachpit Press, 2012), we cover the blending modes and how they can be used for creative effects when making collages. There are 26 blending modes available in the Layers panel in Photoshop CS6, some more useful than others. In this article I want to focus on two of the blending modes that can be very useful for creating multiple image composites: Multiply and Screen.
The key to using Multiply and Screen, as well as several other blend modes, is that each of these blending modes has a neutral color, a color that is “invisible” to the blending mode, and therefore hidden in the final result. Knowing what a blend mode’s neutral color is, and creating layers to take advantage of this, allow for quick and simple composites. Let’s take a look at some examples.[Read More]
Last year’s release of Photoshop Touch for the iPad brought iOS image editing to a new level. However, the camera in recent iPhone models are superior to those in the iPad, and iPhones are the tools most commonly in-hand for photography. So, lacking a phone version of Photoshop Touch meant being marginalized as a mobile editing tool.
Now Adobe as remedied that situation with new releases of PS Touch specifically for the iPhone and Android. The iPhone version of the app clearly uses the same engine and tools as the iPad version, with new palettes and organization to fit the reduced format of the iPhone screen. This provides a level of control, including powerhouse features such as selections, layers, and warp controls, that have not been available in most iPhone editing tools to-date.[Read More]
Adobe Photoshop offers several key tools for retouching, such as the Clone Stamp, Healing Brush, Spot Healing Brush and the Patch tool. Other features that are invaluable for retouching include Content-Aware Fill, Content-Aware Scaling and the Content-Aware Move Tool. Although these tools can do an amazing job when you need to retouch and remove elements from images, how you use them is also an important consideration. In this article I’ll cover some essential strategies for structuring your file so that any retouching you do is flexible, adjustable and, most importantly, non-destructive to the underlying image.[Read More]
In Part 1 of this article, I showed the basic structure for keeping your retouching non-destructive by using separate layers. These can either be empty layers that are targeted by the Clone Stamp or Healing Brush tools, or area layers that are created by copying a selection of image data and making a new layer from that selection. I’ll conclude this article by examining how you can use this approach with additional flexibility for different types of retouching.[Read More]
The saying is that you can’t stop progress. And yet we aren’t always happy about it. Many of us live in towns or neighborhoods which once were quite self sufficient, with services from barbers and hairdressers to hardware and grocery stores. Now most of us have to travel miles to reach larger, more impersonal, alternatives to these long-gone local shops. That’s progress.
The digital revolution has been a main focus of progress in the last couple of decades, and many of the professions that have been “digitized” have suffered as a consequence. Unless your digitally impacted line of work is licensed and mandated, you probably earn less, and have less job security, than in the analog days.
Photographers and graphic designers have been hard hit in this manner, and at the same time that their livelihoods have been impacted, their responsibilities have mushroomed. They learned a range of new and foreign computer skills, studied everything from prepress standards to color management, and those that survived have developed some type of balance in the digital world.
The description above attempts to set the stage for the angst that has rocked the photo and graphics community since Adobe, King of imaging software, announced that it is moving virtually all of its graphics, photo, and video applications to a subscription-only model. Adobe did not do this lightly, nor without research and testing. Its not something that user response it likely to change: Adobe has seen the future, and this is their response to it.[Read More]
As more and more photographers turn to Adobe Photoshop Elements for their image editing needs, it’s great to know that pro-quality tools like Datacolor’s SpyderCUBE can be used with it, as well as with its big brother Photoshop. Especially with the updates in Elements version 12, Elements is all that many photographers need to produce top quality work. The SpyderCUBE helps them make the most of their photo shoots by allowing accurate adjustment of white balance, as well as exposure and black level settings.[Read More]