The curse of the conceptual photographer is that you always want to include some kind of magical element in your photo even when it doesn’t necessarily need one. Knowing how to create a reflection is a good little bow to add to your quiver of tricks. It’s also useful when creating car or product shots for advertising purposes or for landscape photographers wanting to embellish a scene. You can add a reflection to most scenes but unless you’ve photographed your subject straight on you *may* have trouble with perspective so just keep that in mind.
Use your crop tool to make room for your reflection[/caption]
Drag the vertically flipped photo into place[/caption]
Gradient applied to reflection[/caption]
The wave filter gives the water reflection some movement[/caption]
Add noise[/caption]
Add Gaussian blur to noise layer[/caption]
Curves give contrast to noise[/caption]
Apply bas relief filter[/caption]
Add motion blur[/caption]
Use Edit>Transform to drag the water ripples into place[/caption]
Move your layer to a new document[/caption]
Trim transparent pixels[/caption]
Use glass filter to give ripple texture[/caption]
Change blending mode of other noise layer to soft light[/caption]
Close up of water seam[/caption]
And that, dear readers, is how you make a watery reflection!
After much colour toning I needed to draw the eye first to the top girl which I did by making her the sharpest and most saturated thing in the image. Then down to her reflection by making the sword glow and brightening the bottom of the image because the eye is drawn to light. I applied all the effects covered above to the water but I masked most of them off the reflected girl so she could still be clearly seen.
But will she choose to take the sword?
Although this isn't a tutorial week I got a bit carried away with the underwater theme after last week's tutorial and wanted to try filling half a room with water which is how 'The Blue Girl' came about. I photographed myself against a blank wall in my living room with a floor to ceiling window diagonally to my left for light. Isn't window light beautiful?
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In Photoshop I duplicated photos of the blank wall and skewed them to make the wall look like a room.
The water and water line came from this shot of otters (aw, otters!) that I shot at some zoo or other.
The tears were eye drops applied by my assistant (Mum).
The ship and the birds were from my own stock collection.
The rain came from Jessica Drossin's 'Force of Nature' weather effects pack. Various textures were used to give the image a stormy feel.
And that's how I became the saddest girl in the room!
The Exposing Illusions blog has always been an important part of my photography journey; so much so that I spent years researching and planning it before I even wrote a single word. Every one of my conceptual photos has been created to demonstrate the photography technique I am learning and teaching that week. But sometimes I just want to create photos without the constraints of the blog. And that’s what this week’s photo is. ‘In Bloom’ came about because I had an orange flower wall and a white dress. Nothing more. I just wanted to create a pretty picture that wasn’t driven by story. I’d planned to photograph it a year ago but the vine only flowers briefly in winter and by the time I went to shoot it the flowers had died. Being in my late thirties and unmarried I’m sure there’ll be those who’ll think this photo is a statement about my marital status but I love being single and much prefer it to an unfulfilling relationship. I’m just a character in this photo as I am in all my others. Point of interest … right behind this flower wall lives a dog called Panda who regularly hangs over the fence and barks at all who wander innocently by. I was very lucky this day that his owner had just came home so he was too distracted to bother with me. [gallery columns="2" size="medium" link="file" ids="2237,2236"]
While it’s currently the height of summer in the only hemisphere that (supposedly) matters, where I live in Australia it’s so cold that the state I live in saw snow for the first time in 30 years. When faced with the prospect of driving 2.5 hours to photograph said snow OR hibernating under blankets, I decided to stay in the warmth of my home and research how to make my own snow. Problem being that no two tutorials use the same method to add snow and some weren’t even convincing so after much experimentation I bring to you the Photoshop-snow-makin’-machine that I like best. Note: This was the exact workflow I used in my image this week but to demonstrate some of the steps for creating snow I’ve used a forest image from Graphic Stock so it’s easier to see the results.
In your layer’s panel you should see a tab labelled ‘Channels’ but if you don’t you can access it with Window>Channels. Now you need to look at each of the colour channels to see which has the most white showing in the areas where you want your snow. Do this by clicking the eye next to Red and Green so only Blue is showing, then turn on Green and turn off Blue etc, etc. When you’ve chosen the channel you wish to work with drag it to the new layer button at the bottom of the layer’s panel to duplicate the channel. If you want to get fancy you can add a curves (Ctrl/Cmd M) or a levels (Ctrl/Cmd L) adjustment to the channel to create more or less white in your image.
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Now stay with me here ... Ctrl/Cmd click on the channel to turn it into a selection and then switch back to your Layers tab. Create a new layer. Click on the top square of the colour swatch in your tools palette and choose a colour a little under white. Click OK. Go to Edit>Fill and choose Foreground Color. Ctrl/Cmd D to get rid of the selection. Pretty magical right?
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If you aren’t entirely happy with the result you can continue to create more snow by pressing Ctrl/Cmd J to duplicate the layer or follow this process again with different colour channels. You can also mask in some snow in areas that you feel need more.
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Add noise[/caption]
Add a Threshold adjustment layer and drag the slider until you get a nice spacing between your snowflakes. Clip the threshold layer to the noise layer (by alt clicking between the two layers).
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With the noise layer selected go to Filters>Pixelate>Crystallize and move the slider to 10. Press OK. Change the blending mode of the layer to Screen to get rid of the black background.
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Add some movement to the snowflakes with Filter>Blur>Motion Blur and adjust the angle and the amount to taste. Pull down the opacity of the layer a touch. Done! This gives a nice snowfall to use in the background of your image but it’s all the same size so we don’t want to stop there.
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Photoshop's soft brush in brush settings panel[/caption]
Under Brush Tip Shape start off with a brush about the size of a grain of rice. Make your hardness 0 and your spacing around 230. Under Shape Dynamics, change your Size Jitter to 100%, your Angle Jitter to 10% and your Roundness Jitter to 35%. Under Scattering tick the Both Axes box and take your Scatter all the way up and make your Count about 10. Under Transfer take your Opacity and Flow Jitter sliders all the way up.
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Now start to paint in your medium snow using a few clicks because it’s easier to control than dragging your mouse around.
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On your large snowflake layer make your brush about the size of a small coin and just dot in some large snowflakes. Save this as a brush preset if you wish to use it for future use by clicking the menu icon at the top right of your brush settings panel and choosing ‘New Brush Preset’.
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If you have people in your scene spend some time brushing snow into their hair and clothes. Using the same brush we created, set the size to 25 pixels, scattering to 60 and with this you can draw little piles of snow. It’s time consuming but will really help make your scene convincing.
Lastly, depending on the original colour of the image it might help to add some bluish toning. I chose to add a solid color layer filled with blue, set the blend mode to Hue and reduced the opacity slightly.
Let it snow! Let it snow. Let it snoooow.
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About 'Rest Stop in Winterglen'
Every Christmas in Brisbane, Australia a magical world appears called Lollipop Land. The keepers of Lollipop Land, Jule Barten (visual designer) and Chris Boston (doll designer) were kind enough to let me photograph there after hours last January but I haven’t had the right project for the photos (until now).
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I chose to work with their gorgeous Enchanted Forest scene, posing myself on the unicorn (supplied by Natureworks) and taking a 25 shot panorama. I composited in snow and hedges to cover the wooden floor. I added icicles (from Graphic Stock) to the roof and and an ice cave (from DeviantArt) to cover the ceiling. The trees outside of the ice cave are also from Graphic Stock. The dragon was photographed in another area of Lollipop Land but moved into the scene. My favourite part is that the unicorn has a seat built into him so I had to composite in a real horse’s “ass” for realism. I added snow using all the methods above and spent days colour toning the image (only to later delete three-quarters of what I'd done). Lollipop Land is a magical place to spend time (their high teas are great fun) so do visit if you get the chance.
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Using special effects can instantly transform an ordinary photo into a magical scene, and they’re not nearly as complex to create as it seems. Traditionally artists use bright, glowing light to signify magic or special powers but if you set off fireworks or bring out your glowsticks during the day you’re not going to impress anyone. That’s why when working with special effects you’ll ideally want a dark base photo. I’m not saying it’s impossible to use special effects on a light background but they’re probably not going to be super effective.
Light effect from Flame Painter[/caption]
If you expect to use special effects a lot in your work the designer sevenstyles creates and sells amazing actions designed to add special effects with a couple of clicks.
Because magic is the underlying theme of my blog I decided that turning myself into a magician would be a good way to illustrate how to use special effects. Coincidentally, I recently realised that the bird on my business card (created for me by a designer in the UK) is almost the same bird on the cover of the book I'm currently reading, Jonathan Strange and Mr Norrell, which just happens to be a book about two magicians. I photographed myself in my garage against a black sheet using a household lamp and Speedlite for lighting. It took forever to get a flattering light set-up. The girl is made up of different photos of parts of my body while the hat and flying hair were shot separately. The rabbit came from a Graphic Stock image that I turned into a Photoshop brush and added a glow to. The background curtain and all light effects are from Graphic Stock. I was thinking about Donnie Darko while conceiving this image which might be how I ended up with a Frank-like light flare over my eye. This is why it's important to ingest as much culture as you can if you're a creative person so all this stuff can swirl around in your psyche and manifest itself in interesting ways. Hey presto!
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Photoshop brushes are a brilliant way to add interest to your photos but did you know you can use brushes on layer masks? Say, for example, you want to create a bird made of fire, you could take a picture of fire, add a black layer mask to it and then using a bird-shaped brush paint with white on the mask to reveal the fire in just the shape of the bird. Here, let me show you what I mean … [gallery columns="2" link="none" size="medium" ids="2112,2113"]
* Fire stock and bird brush courtesy of DeviantArt.
Yeah, phoenix baby! Using brushes on layer masks you can create a fun dispersion effect that makes your subject look like they're breaking into pieces and scattering away. Perfect for those moments when something really awkward has happened and you wish you could dissolve away into nothing.
My base image[/caption]
Pretty[/caption]
Dispersion effect on liquify layer[/caption]
Bats added[/caption]
One of Photoshop’s coolest features is the ability to customise and import different brushes. Until now you might only have used Photoshop’s standard round brush to paint masks that hide and reveal layers. But if you spend some time with the brush panels you’ll discover that using different brushes not only makes your work easier but will give life to your photography in ways you’d never dreamed were possible. And the best part is you don’t even have to be able to paint or draw! Hooray!
Here are some examples of Photoshop brushes. With a single mouse click I created grass, smoke, the moon, scattered leaves, hair, birds, blood and ink spatters, clouds, stars, fire trees and snow. And that’s just a small sample of the brushes available. You can then customise these further by playing around in the brush options, adding colour, and using the transform tool to move and warp the brush as you desire.
Edit>Fill the canvas with white (if it isn't already). Using black, draw the shape you wish to turn into a brush. Vary the opacity of your brush to give areas of transparency for depth. If you don't like to draw an easier way is to make a selection from another photo and drag that onto your blank canvas. Use Edit>Transform to resize the selection to fit your canvas and then Image>Adjustments>Desaturate. Whatever is white becomes invisible so you may need to go to Image>Adjustments>Invert to swap white to black (and vice versa) and then play around with Image>Adjustments>Brightness/Contrast to get your tones as desired.
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Then go to Edit>Define Brush Preset, name your brush, press OK and your brush will now be at the bottom of the Brush Preset Picker ready to use!
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Define new brush preset[/caption]
If you have Photoshop CC you can also download the Adobe Brush CC app on your phone or tablet to create brushes that sync with Photoshop (although I found it I bit hard to create anything usable).
Shape dynamics[/caption]
Scattering[/caption]
Color dynamics[/caption]
Transfer[/caption]
These are the options you’ll probably use the most but there are other options in the menu you may wish to play around with such as adding texture, noise and wet edges to your brush.
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If you use a tablet with Photoshop you can use the brush panel to control how your pen pressure affects the brush tool so it will mimic your drawing. (I highly recommend using a tablet by the way – I have a small Wacom Intuos Pro which I love but sadly no desk to put it on! So I usually get by without it *sad face*)
Use a Color blending mode to add colour by hand[/caption]
Use gradient map to add a range of colour tones.[/caption]
And that's it for my round up on brushes! Brushes are brilliant in compositing for tasks like drawing hair (because selecting real hair is too difficult), for drawing grass in front of your subject to make them look like they were really in a scene or drawing trees along a horizon line to hide a seam between your foreground layer and a replaced sky. Endless possibilities!
About ‘The Endless Delight of Delirium’
This week’s image is based on the character ‘Delirium’ from the greatest graphic novel series ever written, The Sandman by Neil Gaiman. I’ve always wanted to create a photo around Delirium because she’s so visually interesting, often surrounded by fish and butterflies (and sometimes frogs and bubbles). Because each of the Sandman comics was illustrated by a different artist the appearance of the characters change, so in researching this image I looked at many different interpretations of Delirium and designed my costume around the common elements. For example she has red hair, sometimes shaved on one side, sometimes with stripes of colour. She has one green and one blue eye. She is always wearing fishnets, and sometimes mismatched socks and a tutu. Watercolour and swirls are used to allude to her delirious mental state. I shot the images of myself and the bubbles in my garage with a Speedlite.
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The brushes I found in various places on the Internet but after they were added I felt the image lacked depth so I composited in some real photos of fish I photographed at Underwater World, Mooloolaba and butterflies photographed at Penang Butterfly Farm in Malaysia. The background is a paper texture from Lost & Taken.
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Composited fish and butterflies[/caption]
Working on this image was a joy from start to finish. Let me know what you think!
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Oh god, MY EYES![/caption]
HDR is photography’s most controversial technique because when overused it produces garish results capable of making your eyes bleed. Cameras are limited in the tones they can capture, meaning if you expose to get detail in the shadows, your highlights will blow out, or if you expose to get detail in the highlights, the shadows go very dark. HDR, short for high dynamic range, is a processing technique that gives photographers the ability to create images with a higher range of detail from lights to darks, giving a sort of hyper-real effect. Used in moderation it’s a really effective technique that brings detail into every portion of your image, more in line with how our eyes actually see a scene. For three years I eagerly processed ALL of my images this way because I liked the look of it so much, even when it was probably overkill.
HDR is traditionally created by taking a number of photos of the same scene with different camera settings and then blending those images together with post processing software. But using Adobe Camera RAW or Lightroom you can also give a single image the HDR look, which is how I usually do it. I’ll touch on both methods today.
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Any option with a triangle on top of other triangles is a continuous shooting mode. Image courtesy of Canon.[/caption]
Photomatix Pro using Enhanced[/caption]
The most lauded HDR software is Photomatix Pro which retails for about $100 - although you can play around with a trial version first to see if you like it. It’s easy to use and will walk you through the process of combining your HDRs. But while Photomatix offers the most options, the majority of them are way over the top. However you can customise the sliders to your own taste. The ‘Enhanced’ preset was the most natural looking option for me but I wasn’t entirely thrilled with the way Photomatix combined my exposures. It’s worth the investment if you’re serious about HDR but if you prefer subtle results I’d personally look elsewhere.
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Photoshop HDR[/caption]
Photoshop has its own HDR function which you can access with File>Automate>Merge to HDR Pro. Open the files you wish to use and check the box to align them if there was some movement between exposures. In the next dialogue box, play around with the presets and sliders. Tone mapping HDR images is very much about personal taste so I won’t spend time explaining all the options as plenty of other bloggers already have. But I will mention that if you find an element in your images has moved, check the ‘Remove ghosts’ box and Photoshop will attempt to fix it. Because subtlety is key for me I found the results from Photoshop were still a bit too strong.
Lightroom has recently added an HDR function to its workflow with version 6. Highlight the images you wish to merge and go to Photo>Photo Merge>HDR. On the next screen click to ‘Auto Tone’ and choose ‘Auto Align’ if your camera moved between exposures. Choose a deghost amount if necessary. The resulting image won't look typically HDR but it will throw you into your Develop dialogue box with the sliders moved to best enhance your photo, which you can adjust to taste. I was really not expecting to like this new feature considering it was added as an afterthought but I really love that I can play around with sliders I’m already familiar with, so this is the method I chose for this week’s image.
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There’s one other method I experimented with this week which isn’t really HDR but it’s a good option for selectively combining your exposures … so if I only want my underexposed photo to show up in the sky and my overexposed photo to show up in the shadows. This method involves ‘Luminosity masks’ which use Photoshop masks to obscure and reveal various light values. So I could use a ‘Brights Mask’ to select all the bright values in my image and have my underexposed photo show through in just those areas. Now the guru in luminosity masks is a chap named Jimmy McIntyre so if you’re interested in this technique, please visit his website and download the free action panel which creates all the masks for you at a click of a button! You can then refine the masks as necessary.
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Create three exposures from one image[/caption]
The most well-known way for creating HDR out of a single image is to duplicate the image three times and then raise the exposure of one and lower the exposure of the other and then combine these together using the methods covered above. This is completely unnecessary and just adds noise to your image. The way I do it, which I was so overly fond of for so many years is by opening your image in Lightroom and copying these sliders. As each image is different you’ll need to fine-tune the sliders to taste but I have these sliders set as a Lightroom preset so I can apply it quickly and at least see if an image has potential. This is my biggest editing secret! It's also a technique that photographers like John Wilhelm and Adrian Sommerling use to achieve their almost cartoon-like effect (I think).
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Drop the highlights, raise the shadows and move the other sliders to taste.[/caption]
Compositing gives photographers the magical power to change the weather. Most people crave a sunny sky but for conceptual and landscape photographers the more colour and cloud in the sky the better. We go to so much effort to make a scene beautiful and interesting and are often let down by those bright, washed out skies. This is why photographers like to be up at the crack of dawn capturing sunrises. It’s also why photographers who don’t use Photoshop buy expensive filters, why photographers who do use Photoshop take two exposures—one exposing for the land and one exposing for the sky—and blends them together. And then there’s the third camp who are perfectly comfortable messing with reality and swap their skies for entirely different ones. This is the sleeper-inners method so stick with me to learn how to replace a sky if you’re not a morning person. [gallery size="medium" link="none" ids="1925,1926,1927"] If all horizons were straight and not covered by mountains and trees then replacing a sky would be a breeze but things just aren’t that simple. Because of this there’s more than one way to replace a sky in Photoshop and it can take some experimenting to find the one that works best for your image.
In desperate need of a new sky[/caption]
Reduce opacity of sky layer to see where to move it to[/caption]
I personally like to experiment with a few sky options rather than limiting myself to one. So in Lightroom highlight all your chosen skies and go to Photo->Edit In->Open as Layers in Photoshop and then one by one, use the move tool (V) to drag each sky up to the document tab of the foreground image and then down onto the canvas. Lower the opacity of your sky image using the Opacity setting in your layers palette and move your sky into place. Edit->Transform->Flip Horizontal if you think the sky will work better flipped. If you want to scale or stretch your sky image press Ctrl/Cmd T and drag the corners of the bounding box to resize. Hold down shift if you want to resize with the same proportions.
In no particular order here’s all the different methods I know of for adding a new sky.
Color range selection[/caption]
This method works best if your original sky is primarily one flat colour. Drag your sky layer below your subject layer. With the subject layer highlighted go to Select->Color Range. I prefer to use ‘Sampled Colors’ and then use the eyedropper to sample the original sky’s colour but you can also try choosing ‘Blues’ in the dropdown menu. In your preview box you can see what will be selected (areas of white) and what won’t be selected (areas of black). Play around with your fuzziness slider to refine the selection and use the + and – eyedropper tools to add and remove from your selection. Click OK when you’re happy. If the selection has missed any bits you can choose the lasso tool and holding down Shift draw around any bits of the sky you want to get rid of. Press the add layer mask button which might apply the new sky to your foreground. Obviously this is not what you want! So press Ctrl/Cmd i to swap your mask’s colours. And there you have it—a new sky!
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Blend modes[/caption]
For this method I’d drag your sky layer above your subject layer. With the move tool selected (V) press Shift and + or – to cycle through your blend modes which can be found in the layer’s palette under the drop down menu that says ‘Normal’. If your sky is close to pure white you might find ‘Multiply’ works best. When you find one you like, add a white layer mask to your top layer and with this mask selected choose a big soft brush set to around 50% opacity and brush the new sky away from your subject and foreground. You may have to switch between black and white brushes to refine the mask until you’re happy. Be sure to erase the seam of the new sky image at 100% to get rid of any harsh lines.
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Gradient bar[/caption]
This method is my favourite for replacing skies although if you’re looking for a very exact horizon line you won’t find it here. I like this method because it brings some of the sky over your image which adds atmosphere. It was particularly great for my image this week to mask out the distracting trees in the background (see my final image for the result!) Place your sky layer above your foreground layer. Add a mask to the sky layer and grab the gradient tool (G). In your options bar at the top, click on the drop down arrow next to the gradient bar and select the third 
option along the top which is black->white. Also make sure that the linear gradient is selected (the first box to the right of the gradient bar). With the sky’s mask selected drag your gradient tool from the bottom of your image towards the top. This creates a smooth gradient mask that makes your new sky fully visible at the top, tapering off to reveal the foreground underneath. If you didn’t get the gradient quite right keep redrawing it until you're happy. Vary the position where you start drawing the gradient and the length of the gradient you draw. With your mask still selected you may then have to use a soft brush tool loaded with black to erase the effect fully from your subject.
If you’re experimenting with different skies and you're working with one of the above methods that uses a mask you can Alt-click and drag your mask from one layer to another without having to create it again each time. When your new sky is in place I’d suggest playing around with the colours of the overall image (a selective colour adjustment layer is my go-to method) to make your sky and your foreground look like they belong together. A texture or noise layer may also help.
The word compositing has a boring textbook definition that in a nutshell means “how the magic happens”. Compositing made it possible for Harry Potter to fly around a Quidditch pitch, for Spider-Man to swing between buildings, and for men to walk on the moon. (Just kidding.) (Or am I?) By combining elements from different pictures into one, compositing allows photographers to trick you in more ways than you could possibly fathom . It's used by wedding and school photographers to remove blinking faces in group shots, by newborn photographers to create those baby sleeping with head on hands shots, by landscape photographers to switch a boring blue sky with a moody cloud-filled one. So how does compositing work? Let's say I want a photo of me climbing the Eiffel Tower. I take a picture of me pretending to climb something, use Photoshop to cut myself out and paste me onto a picture of the Eiffel Tower and voila, there I am climbing the Eiffel Tower. However without following the rules of good compositing there’s no guarantee it’ll look convincing. Admittedly compositing TERRIFIES me, not only because it offers unlimited possibilities—the indecisive person’s worst nightmare—but also because there’s a lot to get right for a composite to look real. I’ve done compositing in previous tutorials but in most cases all the components were shot in the same location with the same lighting and camera position so the chances that something wouldn’t fit were low. The stakes are much higher when you’re trying to piece together images from entirely different situations.
For Dream's Quest my base image was a photograph of a lovely painterly garden I took in Pitlochry in Scotland. I wanted to ease into compositing with the simple aim of shooting myself separately and making myself fit into the garden scene.
When shooting your composite components you’ll need to consider the following:
Because my base image was an overgrown garden I shot myself sitting in grass in my backyard so the foliage and the colour would match between scenes. Had I not been wearing a green dress, shooting on green would also have made it easy to select myself out of my background by using Select->Color Range, selecting the greens and them adding a layer mask that hides the selection.
Posing – Be sure to position your person, prop or scene so it will fit your base image. If you’re compositing a prop onto a person make sure they’re posed in a way to accommodate this prop by giving them something of a similar size or shape to hold.
A bad composite - the girl is out of focus but the suitcase is in focus.[/caption]
and yet the background is shot so everything is in focus, as soon as you put that blurry person into that sharp background it’s going to look horrible and fake. You also need to ensure that the area you focus on in the second image matches the focal point in your base image.
In Photoshop I placed the girl layer underneath the garden layer and then masked out the garden to see through to the girl below. It didn’t occur to me when I was creating this composite how difficult it was going to be masking through all the flowers, plants and the structure of the boat to see through to the girl so I zoomed in as close as I could get and painted a black mask on my background image using a square brush. Seriously guys, using a square brush for fine masking has CHANGED MY LIFE. Pixels are square so why use a round brush!
Now THE most important thing in making your components match is to assess their saturation, colour and contrast. You don’t want one element too bright or too green because they’re going to stand out so use clipped adjustment layers to get each element to match. For this I use Phlearn’s fantastic ‘Checks’ method which is available as an action when you purchase a Phlearn Pro compositing tutorial and is a handy tool if you’re serious about compositing.
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When you’ve cut out your subjects and placed them on their new background you need to think about how to make them look like they belong there instead of just slapped on. There are a few ways to do this:
The curse of the conceptual photographer is that you always want to include some kind of magical element in your photo even when it doesn’t necessarily need one. Knowing how to create a reflection is a good little bow to add to your quiver of tricks. It’s also useful when creating car or product shots […]
Although this isn’t a tutorial week I got a bit carried away with the underwater theme after last week’s tutorial and wanted to try filling half a room with water which is how ‘The Blue Girl’ came about. I photographed myself against a blank wall in my living room with a floor to ceiling window diagonally to my left for light. […]
The Exposing Illusions blog has always been an important part of my photography journey; so much so that I spent years researching and planning it before I even wrote a single word. Every one of my conceptual photos has been created to demonstrate the photography technique I am learning and teaching that week. But sometimes […]
While it’s currently the height of summer in the only hemisphere that (supposedly) matters, where I live in Australia it’s so cold that the state I live in saw snow for the first time in 30 years. When faced with the prospect of driving 2.5 hours to photograph said snow OR hibernating under blankets, I […]
Using special effects can instantly transform an ordinary photo into a magical scene, and they’re not nearly as complex to create as it seems. Traditionally artists use bright, glowing light to signify magic or special powers but if you set off fireworks or bring out your glowsticks during the day you’re not going to impress […]
Photoshop brushes are a brilliant way to add interest to your photos but did you know you can use brushes on layer masks? Say, for example, you want to create a bird made of fire, you could take a picture of fire, add a black layer mask to it and then using a bird-shaped brush […]
One of Photoshop’s coolest features is the ability to customise and import different brushes. Until now you might only have used Photoshop’s standard round brush to paint masks that hide and reveal layers. But if you spend some time with the brush panels you’ll discover that using different brushes not only makes your work easier but will give […]
HDR is photography’s most controversial technique because when overused it produces garish results capable of making your eyes bleed. Cameras are limited in the tones they can capture, meaning if you expose to get detail in the shadows, your highlights will blow out, or if you expose to get detail in the highlights, the […]
Compositing gives photographers the magical power to change the weather. Most people crave a sunny sky but for conceptual and landscape photographers the more colour and cloud in the sky the better. We go to so much effort to make a scene beautiful and interesting and are often let down by those bright, washed out […]
The word compositing has a boring textbook definition that in a nutshell means “how the magic happens”. Compositing made it possible for Harry Potter to fly around a Quidditch pitch, for Spider-Man to swing between buildings, and for men to walk on the moon. (Just kidding.) (Or am I?) By combining elements from different pictures […]
