For this picture, we colored the background by using light. What sounds as if it should be straightforward does come with its pitfalls, as you’ll see. We chose cyan as the background color because it complements the model’s blond hair and the bare skin in the picture. Her clothes were therefore neutral in tone: a gray jacket and black underwear.
A few days ago I’ve heard about a browser-based Photoshop clone. Of course, I had to test it – not only because I love these crazy projects, but also because of my background as web developer some years ago. So I visited photopea.com and enjoyed what I saw: An in-browser Photoshop clone. A bit simplified but still very impressive.
I quickly tested some of my main tools: the brush, curves, masks, and various healing tools. Apart from the latest, everything was pretty OKish, so I decided to press record on my screen capture software and upload one of my files.
Being kind of a computer geek, I found myself looking for a good way to simulate studio lights. I tried Blender, Cinema 4D, and other 3D programs until I found Set.a.Light 3D. Let me save you the long read. It’s awesome. OK, you can continue now.
I first fell in love with Set.aLight 3D with one of its first versions back in 2015 or so. It was love at first light (sorry! I could not resist the pun). Since those early days, the simulation improved quite a bit, and the latest v2 release officially blew my mind.
Facebook has become a very important platform for a lot of photographers within the last decade. Networking was never easier and everyone is literally one click away. Sadly, Facebook isn’t perfect (DUH!). One of its biggest drawbacks is the crappy image quality. I mean, you can work on an image for hours, only to upload it to Facebook and realize it looks like a kid doodle.
There are plenty of little tips and tricks to improve Facebook’s image quality, and I’ve spent quite a while to test them all and think about all the different approaches – with very mixed results.
So I had to make the conclusion by myself and just published a free 30 minutes tutorial that will help you solve most issues – albeit it’s a lot of information in there, so be prepared for some serious headache.
Photoshop is a complex program, so it’s “normal” to have minor bugs and small issues. But, while minor bugs are usually forgiven, deleting files, even on rare occasions, is not something that should ever happen
We’ve found a somewhat rare occasion that can delete your file – and this is not a minor issue, this is a horrible fail.
We’ve all been there: you sit on a picture forever, bored of retouching, and then when you do get around to it strange things start to show up in it. Like odd rings of graduated color.
These rings of color are called banding. They are nothing more than tonal breaks but before I explain where these obvious changes in tone come from–and how to avoid them–let me show you an example:
If you look at the background on the right-hand side of the image you can see what resembles a staircase of brightness, getting darker as it moves away from the model. That’s banding.
There are plenty of functions for masking in Photoshop, and each of them is useful in its own way. Whether it’s color selection, focus masks, the new
and kinda annoying mask-and-select dialogue or my beloved channel selection.
If you are following our blog, you should be familiar with my love for channels. Channel selection is always based on the contrast between red, green and blue, and I am manipulating them after duplicating the channel with the highest contrast.
Another way to create masks is using selections based on saturation. THis is not a well-known method, but it’s a very powerful way to create awesome masks when dealing with complex selections.
(hit play on this movie to see what this article is about, this is not a computer generated image, it’s all done in camera – see the final product here)
As someone who deals with compositing on a daily basis, I foud myself in a restless state. And I don’t mean that restless state that all us creatives are in, I mean something that was extreme even for me. I am always struggling with backplates, so I started making a wish list of what the perfect backplate would be. What would it look like? Turns out it’s not an easy question, and it definitely does not have an easy answer. Making that backplate required a $50,000 camera and ended up as a 14 Gigabyte file. But I have finally found how I want my backplates to be. Here is the story of how I made it.
As you probably know, I am a bit obsessed with colors lately. While I was obsessively looking around and searching and asking people until they didn’t answer my requests anymore, something popped up and I have to share it because it’s simple and brilliant:
Color Grading using luminosity masks.
Zoë Noble just released a 10-minutes tutorial on Youtube, explaining the process on a very nice beauty-image.