In today’s Photoshop Workbench, we’ll examine how to blend an exposure-bracketed HDR background with a single-frame pseudo-HDR subject. The beauty of this approach is that it allows you to composite subjects captured with a single frame (either because they were in motion or because you’re using a stock photo) with a true HDR background. [...]View Post
In Photoshop Workbench 332, I shared a technique for creating rain. Although I still use that technique from time to time, I’ve discovered a new method that is definitely worth adding to your toolbox.View Post
Michael Jackson’s “This Is It” poster features a dynamic series of collaged photos filling a dancing silhouette of the pop icon. The effect is definitely eye catching. In today’s Photoshop Workbench, we’ll recreate the movie poster using a fun, time-saving screengrab approach. When you create a poster of your own, you can use either [...]View Post
Creating a thought-provoking photo composite doesn’t always have to be a labor-intensive affair. Sometimes it can be as simple as adding a mask and painting with a soft black brush to blend two images. In today’s example, I’ll show you how to take a simple concept and quickly fashion it into a compelling composite.
Ninety percent of the time, I use a combination of the Quick Selection tool and the Refine Mask dialog to make precise selections, yet Channels represent an alternative selection method that is often more effective for extracting busy or transparent elements that reside on a solid-colored background. In today’s Photoshop Workbench, we’ll examine how [...]View Post
In Part One of this Photoshop Workbench series, we discussed how to approach a composite and how to gather assets. In Part Two, we’re going to build the composite… complete with a “no-mask” blend mode technique, a method for adding warm glowing lights, a non-destructive dodging and burning trick, and a few finishing touches [...]View Post
I’ve recorded numerous Photoshop Workbenches and even a complete Video Tutorial Series covering the techniques necessary to produce a convincing photo composite, yet until now, I’ve talked very little about the planning process. In Part One of this two-part series, we’ll explore how to approach a composite and gather assets. In Part Two, we’ll [...]View Post
In today’s Photoshop Workbench, we’re going to merge the world of photography with the world of graphic design. We’ll learn how to use text as an illustrated element as we transform a model’s dress into so much more than a mere fashion statement. Best of all, we’ll accomplish the entire process non-destructively. Thanks to [...]View Post
Google recently released a delightful new addition to their Nik Collection called Analog Efex Pro. This plug-in is designed to allow you to explore the look and feel of classic cameras, films, and lenses. Like all of the Nik plug-ins, the interface is easy to use and flexible, and the effects are delightfully authentic. [...]View Post
One morning during a recent Nova Scotia workshop, we experienced some of the most beautiful light I’ve ever witnessed. Overnight, dense fog had enveloped Peggy’s Cove, reducing the likelihood of a colorful sunrise. To our utter delight, just before sunrise, the fog thinned. As the sun crested the horizon, it infused every drop of [...]View Post
Buried at the base of the Layer Style dialog, the Blend If sliders are among Photoshop’s most mysterious and least understood compositing features. Given their extraordinary power, it’s a shame that more people don’t use them. In this Photoshop Workbench, I intend to demystify these sublime sliders.
To explore the Blend If sliders, [...]View Post
While studying the clever and compelling Adaptation movie poster, I noticed that shadows, particularly those falling on light-colored or white surfaces, contain the color of the object that is casting them. Intrigued by this discovery, I decided to take a crack at reproducing the poster to see what new techniques I could learn. In [...]View Post