If there has been one message all of us have heard over the past few months, it’s been this: Stay at home! It’s important to repeat it and to do it in different ways, and Tony Fero and Helena Juan have found their own way. They have photoshopped people out of iconic artwork to symbolically “send them home,” which resulted in an inspiring and unique project.
Photoshop has a whole bunch of different blend modes but knowing what they all do… Well, even many of the most advanced Photoshop users don’t know what they all do. That not knowing could be holding you back, though. And this video is a perfect example as to why.
I’ve been using Photoshop since about Version 3.0 (yes, I’m that old), but I don’t recall ever once using the “Divide” blending mode. After watching this video from Unmesh at PiXimperfect, though, I wish I’d started looking into it years ago. Unmesh starts by showing how it works in a practical sense, and then explains the underlying maths behind it to help you understand how it does what it does.
I love to use wide-angle lenses in my landscape photography. To go wide, though, means that you will face a few challenges. One of them is that the objects in the middle of the frame are diminished. A mountain, for example, will look significantly less impressive shrunk down in the middle of the frame. There are several ways you can overcome this. One of them is focal length blend.
The Nik Collection has had a pretty turbulent and uncertain journey over the last few years. Google acquired it in 2012 when they bought out Nik Software to get their hands on Snapseed, but they didn’t do much with it. In 2017, Google abandoned it and had no plans to continue it beyond Adobe CC15. Just a few months later it was acquired by DxO, cleaned up, and last year they released Nik 2.
Now, DxO has announced the Nik Collection 2.5, which comes with five new film type simulations, some of which are no longer available as actual film, and added support for Affinity Photo.
Last night, I did an ‘Ask Me Anything’ session on Instagram Stories and someone asked the question: ‘Do You Photoshop Your Pictures?’
My reaction was the same one most photographers have:
“Yes, just like 99% of photographers out there, I do some post-production on my pictures. Even in the film days, photographers like Richard Avedon and Irving Penn edited the hell out of their photos.”
And then I realized — that would have been the dumbest possible response.
Most of us have used Gradient Maps in Photoshop at some point. Most commonly to aid in black and white conversions. They offer a lot of control and power for black and white conversions and lets us get some nice contrast and done that there regular Black & White adjustment layer doesn’t.
But did you know that you can use it to change the colour of just about anything you want in Photoshop? Taking a break from the more philosophical videos he’s been posting lately, Sean Tucker has released a tutorial on how he uses Gradient Maps to recolour elements of photographs – and it’s let me see the tool in a whole new light.
Photoshop has become so intertwined with many of our lives as photographers that it’s difficult to imagine life without it. For those younger photographers, there was never a time when it didn’t exist. But Photoshop today celebrates its 30th birthday from that initial Version 1 release.
So, we thought now would be a good time to remember how it looked back then. Initially priced at $895, it looks extremely primitive by today’s standards and it’s come a very long way since then. Although, that tools palette still looks awfully familiar.
Several times a day I see people posting online that they’ve exported images from Photoshop and the final JPG looks nothing like what they thought it would. They’re actually not the wrong colours, you’re just outputting them in a different colour space.
In this video, Unmesh at PiXimperfect explains what colour profiles are, how they affect your image, and how to solve the problem when your images don’t look quite the way you expected.
An artist recently posted a tweet offering to remove people’s exes from their photos for $10. It seems that she totally hit the spot: she got so many requests that she can’t seem to keep up with the demand.
In an ideal world, studio floors and walls would all be pristine and perfect. But in the real world, even freshly painted and cleaned ones don’t stay that way for very long. They pick up dust and dirt, get smudges, scuffs and scratches, and we end up having to either clean and repaint them more often or just deal with it in post. And if it’s a rented studio, forget about it.
In this video, Robert at Optical Noise brings us his method for retouching studio floors in Photoshop to clean up this mess, and even out the colours.