Innholdsfortegnelse for June 2021 i Practical Photoshop

WATCH THE VIDEO https://bit.ly/3yhmxh4 One of the issues we sometimes face when we convert an image to monochrome is that objects can blend into one another without the color information in the image. Here, for example, the muted yellow and blue feathers in this heron blend in with the similar tones in the background buildings. This is why, if you’re shooting for black-and-white photos, it’s helpful to seek out contrast between the subject and its surroundings. However, if this isn’t possible then we can manufacture the contrast afterwards. Photoshop’s new Depth Blur Neural Filter offers an easy way to achieve this. Go to Filter > Neural Filters. Check Depth Blur (currently a Beta filter) then increase Haze. Once that’s done, convert the photo to black and white to finish it.…

1 LOCATION It’s easy to find places where you’ll be guaranteed a variety of birds to photograph. Large lakes, wetlands and nature reserves are ideal. Birds and other wildlife are usually most active around sunrise and sunset, so the start or end of the day is the best time to head out. 2 TRIPOD This project is all about striking a balance between motion blur and sharpness, so a tripod is essential, either for keeping the camera still to capture subject blur, or tracking the subject for panning blur. It also helps to take the weight of heavy lenses. 3 BIRD ACTIVITY The real joy – and challenge – in this project is in observing the birds. The more you get to know their behavior, the easier it is to…

Photoshop has many types of layers and adjustment layers available, but there are six that you’ll find you need to use again and again. Learning how they should be used may seem a little daunting for beginners, but once you’ve got to grips with them, you’ll find they play a part in the creative process of almost every image you make. 01 LEVELS This should be the first layer you add to an image, because it fundamentally alters the tonal range of the entire image. Create a Levels Adjustment Layer, drag the Black point slider inwards until it touches the left-hand edge of the histogram, and drag the White point slider inwards to the right-hand edge. This remaps the tones of the image to make more of the available tonal…

When we convert an image to black and white, we are essentially recalling an earlier time when black-and-white film was the only option, rather than an aesthetic choice. So why not try recreating the look of old black-and-white film stocks? There are several plugins for Lightroom and Photoshop that can do this for you, including the excellent DxO FilmPack. Simply install the plugin (there’s a free 30-day trial), then right-click your image in Lightroom to launch the plugin and choose from an array of classic film treatments, each of which replicates the contrast, tonality and grain of the film.…

The Gradient Map Adjustment Layer can let you add tinting effects that mimic the look of old analog processes, like the rich blue of a cyanotype or the warmth of selenium. These effects used to be available as Presets within the Gradient Map settings, but it seems they’ve been left out of the latest versions of Photoshop. We’ve supplied the set amongst the project files. Simply add a Gradient Map Adjustment Layer, then click the preview of the gradient, click the cog icon and choose Import, then navigate to the photographic toning set supplied. Choose from the wonderful array of toning presets like Blue-Selenium and Cobalt-Iron.…

WATCH THE VIDEO https://bit.ly/3v65k8n Converging verticals occur when we angle our camera upwards towards a building or structure. The straight vertical edges of the building can lean in towards one another, making it look as if the building is toppling inwards. This effect is emphasized the closer you are to the building – and wider lenses can result in more pronounced distortion. You may be able to avoid converging verticals while taking the shot by stepping back, finding a higher vantage point or using a tilt-shift lens. If none of these options is possible, perspective issues can usually be fixed in Photoshop or Lightroom. Here we’ve used Camera Raw to fix our photo, but if you’re a Lightroom user, you can use the identical tools in the Develop Module. The…

01 GET DOWN LOW A low camera angle can be great for this technique, as it allows you to get down to eye level with the birds on the water, making the shot feel more involving for the viewer. It also makes it easier to isolate your subjects from the background, as the low angle enables you to push the background further away, making it simpler to blur out. 02 SHOOT IN LOW SUNLIGHT Shooting in low sunlight adds to the atmosphere by creating pockets of light and shade. Low directional light also helps to bring out the colors in the feathers when lit from the front, or filters beautifully through the wings when shining from behind. Lower light makes it easier to use slower shutter speeds. 03 WATCH FOR…

WATCH THE VIDEO https://bit.ly/3uXWEAS 1 B&W PROFILES You’ll find a range of handy black-and-white Profiles in Camera Raw or Lightroom. These give your image different monochrome looks. Simply open the Profile Browser in the Basic Panel and scroll down to the B&W set, then hover over various Profiles to see how they affect your photo. Use the Amount slider to control the intensity of the Profile. 2 B&W MIXER The sliders in the B&W Mixer Panel within Camera Raw or Lightroom let us control the brightness of color ranges in the image. Here it lets us lift the reds and oranges in the skin tones for a fresher portrait look. You can either drag the sliders, or – for more nuanced control – toggle on the target icon and drag…

If you’d rather not pay out for a plugin (see the previous page), you can add grain yourself to give your photos the look of old-school black-and-white film. In the days before digital, these film stocks could be pushed to increase the ISO, which not only made the film faster but also resulted in more grain and added contrast. We can achieve the look of a pushed mono film stock with Camera Raw or Lightroom. Begin by choosing a B&W Profile (or one of the built-in monochrome Presets), then go to the Effects Panel and increase the Grain Amount, Size and Roughness settings until you’re happy. Try adding a dark, heavy vignette with the Post-Crop Vignette sliders, then go to the Basic Panel and increase Contrast to finish the look.…

The long-exposure, ‘milky seas’ landscape scene is a classic subject for a monochrome treatment – but what if you didn’t bring your Big Stopper to the beach? With a few simple skills, we can transform any seascape into a minimalist long-exposure scene, even if the shutter speed was 1/100 sec rather than 10 seconds… 01 SELECT THE ROCKS Open the seascape into Photoshop, then grab the Quick Selection Brush and paint over the rocks or any other objects in the sea. Once done, go to Select > Select And Mask. Use the Radius slider to improve the selection edge. Set Output to New Layer With Layer Mask and click OK. 02 APPLY PATH BLUR Highlight the bottom layer and press Cmd/Ctrl+J to duplicate it, then go to Filter > Blur…

WATCH THE VIDEO https://bit.ly/3v65k8n The desire in wildlife photography is usually to capture animals that are tack-sharp – but what if we try a different approach and aim for something more abstract instead? This is a technique we learned from UK-based wildlife photographer Ben Hall. The trick is to lower your shutter speed just enough to blur the movement of the animals, while still retaining areas of relative sharpness and legible shapes. The results can be stunning. Sure, things won’t be pin-sharp, but in its place you get a wonderful sense of natural speed and motion. You could try this out on any wildlife, but it’s especially suited to bird photography: birds are almost always on the move. This poses a challenge in terms of focusing, framing and lens reach,…

01 REMOVE DISTRACTIONS One of the biggest challenges with wildlife photography is capturing the animal against a clean background. Thankfully, we can use Content-Aware Fill to remove unwanted background details. Make a loose selection of the area with the Lasso tool then go to Edit > Fill. Set Use to Content Aware and click OK. 02 BOOST COLOR AND DETAIL Open the image in Camera Raw or, if in Photoshop, go to Filter > Camera Raw Filter. Grab the Adjustment Brush and increase Saturation, Clarity, Shadows and any other settings you like. Check Auto Mask, then paint over the animal to boost it. Once you’re done, fine-tune the color and tonal sliders. 03 CROP IN LATER It can be tricky to get the framing right in-camera so it’s often necessary…