A true friend leaves paw prints on your heart… Or hoof! 🐎 Love them critters!
Photoshop Tutorial: Visual Supply Company Effect
Smart Phone photography is the big thing these days and Instagram is the social sharing site of the mobile photographer’s choice. It comes chopped full of filters to give texture and pop to your images. Then there are oodles of other apps to choose from for customizing your looks. One of the popular favs is VDCCam.
When you want to get a similar look for full sized images, working from your desktop or laptop is preferred. And in comes Photoshop to the rescue. Actually, all filter apps started there in the first place.
Here’s a technique I picked up over at gomedia.com.
Open your image in Photoshop, then right click the layer and make it a smart object.
Lighten the image a bit with either brightness/contrast, or curves. This image is adjusted with curves. Click the center point and drag upwards. This one registered an input value of 120 and output value of 140.
Boost the contrast if necessary. For this image, it added intensity and definition to the wispy pine needles and grasses. The curves could have also given this effect, but the image didn’t need much so, brightness/contrast suited it fine.
Spruce the colors with a dash of vibrance. Sensors in digital cameras tend to miss some of the color spectrum and this step just pumps it up.
Emulate the color profile of film. The colors here are twisted to feel like film with a selective color adjustment layer The source image used the following values. Mine on the other hand already had lots of green, so I had to experiment.
Yellows: magenta +75, yellow +25
Greens: yellow +50, black +100
Blues: black +25
Blacks: black +10
You may want to experiment here some, too, depending on the effect you are after. Shadows in images from film cameras tend to be greener and highlights more yellow. Reducing magenta in the blacks will give that greenish hue to your shadows.
Power down with a fade. After some tinkering, the source used a fill layer with a solid color of 4e4e4e set to lighten in the blend mode. Add more fade by duplicating the adjustment layer and toy a bit more. Reduce fade by reducing the opacity of the original layer. It’s subjective at this point.
Add a hint of cross processing. There’s a preset for that in the curves adjustment. This gives the effect of one film type being processed in another’s chemical solution. It can provide interesting and unexpected results. It gives a strong effect and really pumps up the greens. To tone that back, reduce the opacity down to about 10%.
Kick up the saturation after all this crazy coloring. Slider reading of 5 is just enough.
Warm things up with a photo filter adjustment layer. This one takes in the warming filter LBA. The density and opacity can be tweaked as you like. Be sure to check the box to preserve luminosity.
Room of the Day courtesy of Houzz.com
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A beautiful day at the beach photographed by Anthony DellaCroce and it happened to be one from Pensacola Florida.
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How To Control Lens Flare with Exposure Blending
The Exposure blending method involves equal parts fieldwork and postprocessing. This procedure works well when the sun is present in your composition (Figure A).
To begin, make sure your camera is locked securely on a sturdy tripod, as this procedure won’t work (or at least will be prohibitively difficult) if your captures don’t match exactly. Make two exposures: one with the sun present in the frame and another in which the sun is blocked by your finger (Figure B).
It’s a good idea to manually set your white balance so your colors don’t change when the sun is covered up. You also may want to expose a half-stop or so brighter for your second frame, as blocking the sun can darken your resulting capture a bit. Your camera’s histogram can come in handy here.
Now that you’ve captured your source images, follow these steps:
1. Open your two fi les in Photoshop. Your first capture, in which the sun is visible, will be your Background layer.
2. Copy your second capture, with the sun hidden, and paste it over your Background as a new layer (Photoshop will automatically call this Layer 1).
3. Add a black layer mask to Layer 1 (Layer > Layer Mask > Hide All). Since black equals hide and white equals show in layer masking, your black layer mask will hide Layer 1 from view.
4. Select your brush tool, and set your foreground color to white. Making sure your black layer mask is selected in the Layers Panel, begin painting white in the areas of the image that exhibit lens flare. Watch as the offending areas disappear! While exposure blending is a powerful method for controlling lens flare, it can take some practice. Often, your two source photographs may have slight variances in exposure or color due to adding and removing a light source as powerful as the sun. Experiment with Levels, Color Balance and Exposure adjustment layers and masks in order to fine-tune your blended image (Figure C).
Text & Images by Scott Rubey for Outdoor Photographer May 2016