Making Rocks

Possibly the shortest, easiest tutorial ever written, dealing with one of the most mis-understood features within the Adobe Photoshop world, Channels. Yet it is such a quick tutorial there is only the most rudimentary use of it here. But if you feel like creating the texture of a rock, perhaps for a business card or a logo, or lettering, you can transfer what you learn here at photoshopcafe within just a few minutes.

Good luck and let us know what you think. I am always most appreciative of any tips concerning chinks in the armor of tutorials.

Lunacore Photoshop Training Water Drops

Ever had a photo you wanted to add a little pizzaz to? I have one of rain on leaves I really am fond of. I have printed it and have it hanging so people who visit can see it. However one day a client was visiting and asked if I had one just like it but with flowers in it. I said I'd have to check and I'd get back with her. After searching all of Bridge I had to admit I had a few but wasn't able to find what she wanted. Then I came across one which had everything she wanted but the water drops. I did a search in my OutsideShooter's Photoshop Tutorial Search engine on this page below About Me, and came up with this. The photo above is from the tutorial.

It's relatively simple and adds a subtle splash to your image. Give it a try, then bring back your Comment.

Why use a layer when making photo adjustments?

Assuming you are using Photoshop, you want to create a better looking image than your camera settings have delivered, you can open this file and make adjustments without harming your photo and losing information captured in your original

Since many use the standard JPG format, a lossy configuration, they find that each time their image is altered, data is lost, meaning that accurate sensor information is gone forever. If your image file is nothing special then you have nothing to worry about. However if you are shooting to sell any of your images, or are particularly fond of your photo then following this brief tutorial will give you an advantage.

Open your JPG image in Photoshop. If you choose Image> Adjustments> then choose an option you'll be changing pixels within the original file. Not a good thing if you make a mistake and then save in original JPG format, because you have now forever altered the photo and lost data. You can of course avoid pixel damage by using a different approach, choosing the use of Layers and saving appropriately.

You can alter your image safely by using Layer> New Adjustment Layer> and perhaps Levels or Curves, for instance. The effect is easy to check by simply clicking on the eye icon next to the background layer. You will see that the effect you have created will show on the background layer.

You now have the choice to Save As (Control/Alt on a PC) create a name and save. Then when closing you will be asked if you want to Save changes to the original Photoshop document before closing, and here you can simply click on 'No'. Choosing the 'no' option allows for the original image to hold all of the original data for future use.

5 Simple Tips for Decorating with Art

This is found at http://blog.imagekind.com/2007/10/17/5-simple-tips-for-decorating-with-art/

Choosing art can be a difficult process. Not only are there millions of pieces out there for you to sift through, look at, dismiss and decide upon, you must also have a good understanding of what it is you are trying to accomplish when decorating with art. Below are five simple tips that can make selecting artwork easier and ultimately more enjoyable.

• Connect with it: Art is many things to many people, but when choosing how to decorate with it, it needs to be yours and yours alone. Whether the piece inspires you, calms you, excites you or just generally makes you happy, that is where you need to start.
• Blend it: Not only should the artwork affect you internally and emotionally, it must help create a space that surrounds you externally. Whether it is furnishings, accessories or the people who occupy the space, the art you choose should be a reflection of that and be able to pull it all together.
• Hang it: What good is wall art if is not on the wall? Here are a few tips for hanging your artwork:
• Bigger is often better by creating more of a statement. Go with small prints on narrow walls and large works for large surface areas.
• When hanging wall art over furniture, it should generally not be longer than the piece of furniture.
• Hang art so that the center point of the piece is at eye level for the average person.
• Mat it: A white or subtle cream mat brings the focus to the artwork itself. To create maximum impact with your prints, consider choosing a mat that contrasts your wall color: light mat with a dark wall and dark mat for wall painted with a light color.
• Frame it: Usually, when selecting a frame, you want to avoid choosing a color that is too similar to the color of the mat you chose. Blending and selecting mat and frame colors that are evident within the painting itself can provide a cohesive and complete look.

Try these at will from popphoto.com

Twelve Essential Photographic Rules
From Sunny 16 to Moony 11, 8, and 5.6, these facts, formulas, and photographic rules can get you out of a jam and help you get good shots when nothing else will.

By Jason Schneider
September 2007

What happens when your systems go belly-up, when all of that cutting-edge technology dies and you must rely on (gasp!) your own knowledge? It pays to have these basics in your head. They can get you out of a jam and help you get good shots when nothing else will.

1. Sunny 16 Rule
The basic exposure for an average scene taken on a bright, sunny day is f/16 at a shutter speed equivalent to one over the ISO setting—that is, f/16 at 1/100 sec at ISO 100. From this you can interpolate, and try f/22 at the beach, f/11 on a cloudy-bright day, etc.

2. Moony 11, 8, and 5.6 Rules
There are many different rules that work well when shooting the moon. One favorite for a proper exposure of a full moon is f/11 at one over the ISO setting. For pictures of a half moon, use the same shutter speed at f/8, and for a quarter moon, use the same shutter speed at f/5.6.

Related Links
• Adobe Photoshop Shortcuts
• Digital Toolbox Archive
• Subscribe to the PopPhoto newsletter and get a new tip by email each week.

3. Camera Shake Rule
The slowest shutter speed at which you can safely handhold a camera is one over the focal length of the lens in use. As shutter speeds get slower, camera shake is likely to result in an increasing loss of sharpness. So, if you're using a 50mm lens, shoot at 1/60 sec or faster. Not enough light? Use a flash, tripod, or brace your camera against a solid object.

4. Anatomical Gray Card
Metering off an 18-percent neutral gray card is a good way to get a midtone reading that will give you a good overall exposure of a scene. Forgot your gray card? Hold your open hand up so it's facing the light, take a reading off your palm, open up one stop, and shoot. (Various skin tones rarely account for even a full-stop difference.)

5. Depth of Field Rules
When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field, because the depth-of-field zone behind that point is about twice as deep as the depth-of-field zone in front of it. This works for all apertures and focal lengths, but the smaller the aperture and the shorter the focal length, and the greater the distance you shoot at, the greater the depth of field.

6. Largest Digital Print Rule
To calculate in inches the largest photo-quality print you can make with a digital camera, divide the vertical and horizontal pixel counts (see your manual) by 200. For critical applications, or if you want exhibition-quality prints, divide the pixel counts by 250

7. Exposure Rules
The classic advice is, "Expose for the highlights, and let the shadows take care of themselves." This works with slide film and digital. But with negative film, especially color negative, you're better off overexposing by one stop.

8. Quick Flash-fill Rule
When using an automatic flash unit that doesn't provide auto flash-fill ratios, set the flash's ISO dial to twice the ISO you're using. Meter the scene, select an f-stop, set the autoflash aperture to the same f-stop, and shoot. The resulting 2:1 flash-fill ratio will produce filled shadows one stop darker than the main subject.

9. Flash Range Rule
Want to know how much extra flash range you get by going to a faster ISO? The rule is, "Double the distance, four times the speed." For example: If your flash is good to 20 feet at ISO 100 (film or digital), it will be good to 40 feet at ISO 400.

10. Megapixel Multiplier Rule
To double the resolution in a digital camera, you must increase the number of megapixels by a factor of four—not two. Why? The number of pixels in both the vertical and horizontal dimensions must be doubled to double the pixel density across the image sensor.

11. Action-stopping Rules
To stop action moving across the frame that's perpendicular to the lens axis, you need shutter speeds two stops faster than action moving toward or away from you. For action moving at a 45-degree angle to the lens axis, you can use a shutter speed one stop slower. For example: If a person running toward you at moderate speed can be stopped at 1/125 sec, you'll need a shutter speed of 1/500 sec to stop the subject moving across the frame, and a shutter speed of 1/250 sec to stop him if moving obliquely with respect to the camera.

12. Sunset Rule
To get a properly exposed sunset, meter the area directly above the sun (without including the sun). If you want the scene to look like it's a half-hour later, stop down by one f-stop, or set exposure compensation to minus one.

A Photoshop Tutorial Web Site You Will Love

Some time ago I discovered a web site for Photoshop Tutorials which offers both beginner and advanced videos. It's called the Radiant Vista.

http://www.radiantvista.com/

The one I just finished watching was on retouching portraits for those of you who want a change from outside shooting. Here's the link:

http://www.radiantvista.com/tutorials/a-photoshop-reference-portrait-retouching

The movie by Mark Johnson was informative and fairly easy to follow, though I'll warn you you may want to listen for a step or two, then pause & do the steps yourself before restarting the video. This would be one of those occasions where having a second monitor really helps. Watch the tute on one, work on the other but for most of us we'll get through on our single flat panel LCD.

It begins by explaining the Liquify Filter & how you can adjust facial elements, the eyes, the nose and the mouth. It's a fun tool but its also an efficient tool. It even addresses adding catch lights to the eyes for depth and shape, through the use of layers. Gets a bit technical on the section dealing with Portrait Color Correction but its worth a lot if your workflow involves any of this.

The Radiant Vista is a very well put together site I urge you to visit. In fact at the present time they are offering the chance to Win A Week Long Workshop. But there is a small catch, you need to purchase a a tutorial collection or an extended download period. Details are there.

Try it out and let us know what you think.

A Photo Blog that will become an Absolute Must

Tim Grey, if you haven't heard of him, is one of the upcoming premier experts using Photoshop today. Don't be fooled by his lack of material and comments as this is a brand new blog for Tim. I promise you this will build to become a valuable source for not only using Photoshop, whether CS3, CS2 or Elements, but in learning much of the digital world of photography.

Tim also answers questions for you for a fee at his regular site http://www.timgrey.com/ddq/, where you can register to receive answers from other's questions without having to pay the fee. You just won't be able to ask questions yourself.

Tim also writes books and does appearances. A wealth of information and guidance can be had through his resources. He is an employee of Microsoft but has an in-exhaustable energy.

http://timgrey.com/blog/