25 Aralık 2008 Perşembe

Photoshop Lessons

Photoshop Lessons

Photoshop is a wonderful program, but it really was never designed to be easy to use by photographers. I will be posting a series of short, 3-minute, free Photoshop lessons that you can download to help you with your photography. They are designed to make Photoshop work for photographers. These lessons are appropriate to nearly any version of Photoshop (7, CS, CS2, CS3 and even Photoshop Elements).

The first two cover some basics that I believe every photographer needs to know. First, you'll find a philosophy of working with Photoshop that goes back to classic photographic ideas espoused by Ansel Adams. Then you'll find what I consider to be one of the core adjustments that every photograph needs - checking blacks and whites.

  1. Ansel Adams and Photoshop
  2. Blacks, Whites, and Levels
  3. EZ Color
  4. Warming a Scene
  5. Enhancing Colors
  6. Layer Overview
  7. Adjustment Layer Overview
  8. Layer Mask Overview
  9. Sharpen - USM
  10. Enlarge Sharpen

4 Ağustos 2008 Pazartesi

Rendering 3D Metal Solids

Often, Photoshop tutorials regarding the "metals" are concerned to make metal objects low styles or a specific set of actions (the first use of the instrument Elliptical Marquee to choose the form of metal ball. ..). In this tutorial, we will introduce a new way of seeing things in Photoshop metal - the 3-dimensional objects.

First, there must be an overview of the extent of heavy metals. You can use a pen on paper and scanned into Photoshop, or you can draw directly on the digital canvas with the mouse or tablet, it does not matter, because we'll use this book as a draft directive.
Volume Sketch

Create a new layer under your volume of sketches and name it "fill". Then apply the method of mixing the circumference low multiply and return to complete your jacket. Use the pen, the tool for tracing the outline of your subject to get a form with edges, and filled with a neutral gray hue.
Fill color

Now, turn the opacity of the circumference of about 20% ga low and continue to fill low. Use lightly bushfires and on the edges of filling. This will help to determine how light and shadow falling on the subject later, when we travel. When you're done, hide the full circumference low and make sure the edges burned on your coat is the outline.

With the help of the engraving tool with a very small diameter, fires robust areas of shadow on the subject. In my opinion, I ga a source of the light of the foregoing, if the form of shadows on the edges because my surfaces are slightly concave inwards and are slightly tilted down. At this stage I do not worry about the "cruelty" of my time because we're looking for a leadership position, we'll have to worry about cleaning it later.
Gross shadows

Then do the same with the Dodge tool to accentuate the areas where light is probably in the autumn. You must control the amount of "white spots" as a set of white areas suggest most spectacular highlights - white glare, "you will see very often reflecting chrome.

Now we must use instruments Dodge and Burn tool to the edges of the solid. Use Dodge repeatedly on the corners to create spectacular and highlights the use of tools like sharp edges, addressed to Burn a contrast between the strong and shadows.
insist on the edges

Keep repeating the Dodge / burn until your item has a lot of contrast and use of fire with a large diameter something to burn the whole object. You will notice that the "noise" begins to resemble a given moment - this is what I look for a mole on my metal surfaces.
metallic noise

From this point, it's just a question of repeating the above procedures for you a picture that you are satisfied with the result.
final image