The Joys of Layering

When I first began using Photoshop, layers confused me horribly. But after some time of reading tutorials, magazines, and picking the brains of every Photoshop-savvy person I came across, layers became my big Photoshop love.

I now use them for every tiny change I make to my images. With big edits, or high-resolution photos, this can mean my PSD (Photoshop format) files take up a lot of hard drive space, but it’s so very worth it.

Why Layer?

♦ Flexibility. This is the reason, above all other reasons, to use layers. You can use Layer Masks to apply an effect to any area of the photo you like, or more to one area than to another. You can lower the opacity of a layer to soften its effect on the layers below it. And of course you can take one image and combine it with another, as well as countless other possibilities.

♦ Gobackability. What do you mean that’s not a word? Sure it is. It means you always have the ability to go back to a previous version of your image, even right back to the start if it all goes calamitously wrong (it does happen), or if you have a new idea for how you want your image to look.

You can undo changes at any point later on if you’ve decided that’s not what you want for your image, or you can improve the changes made on an Adjustments Layer at some point long after you finished editing it the first time.

Photoshop has a History Brush tool, and I know people who swear by it, but I’ve never been a fan. I prefer to simply have my changes preserved in layers to go back to at any time.

“How did I do that again?” This is a big one for me. I edit photos quite quickly, usually without knowing beforehand what I intend to do with an image. Sometimes even just a few weeks later I don’t remember exactly how I created a certain effect (usually one that’s the result of about 20 layers of tiny changes).

If you save your PSDs it means that you can open the file a week, a month, a year later, and see exactly how you made it look like it does. This is great for fine-tuning a technique that you’re testing, or one you’ve stumbled across accidentally as you worked.

♦ Progress check. There are literally limitless things to learn about Photoshop. Sometimes it can get overwhelming and I feel like I’ll never learn it all. Then I realise that while, yes, I’ll never know everything there is to know about Photoshop; there’s a difference between knowing everything and knowing plenty.

To remind myself how far I’ve come, I like to go through my old PSDs. By looking at the layers I can see how I did things when I first started, and then see how my techniques have changed with each piece of newly acquired knowledge. My first PSDs, the ones I was so proud of at the time (and still am!), look so primitive by comparison, and even edits from only a year or two ago show how much my skills have improved. If you’re anything like me, you’ll love being able to track your progress this way.

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How much is too much?

Watching this video makes me giddy with excitement. Think of all that editing power at your fingertips! It’s magic I tell you, magic!

Although, while I’m in awe of its shining glory, this video has created confusion in my mind.

While the main part of me goes, “Woooow! So cooooool!!!” a little part of me says, “Yea, cool… but it’s cheating.” Why is this? The outcome is the same. Whether you spend hours doing it by hand or spend a few seconds with this tool, both ways result in edited images.

I’ve always prided myself on accepting digital enhancements as part of digital photography, yet that little part of me looks at this video and thinks, “But where has the art gone? What’s so impressive about clicking a button?

It’s like Facebook (okay, it’s nothing like Facebook, but bear with me); I used to be the one who remembered all my friends’ birthdays. I still do. If asked, I could rattle off a list of about 20 of them without thinking about it. It was impressive and meant something to my friends when they received my birthday wishes on their day. Then Facebook came along and started listing everyone’s birthdays. Now I still remember them all, but it means less because people assume I merely saw it on Facebook like everyone else.

Maybe, like with birthdays, this is just my ego throwing a temper-tantrum and not liking the idea that, after years of fine-tuning my skills, a tool is going to come out that will mean that anyone can do it in moments, and no one will know how amazing my powers of Photoshop are. Maybe I want it to stay difficult so that only an elite group of people have the know-how to manage.

Okay, fine. I’ll stop being a snob, and I’ll rejoice in the creation of an incredible new tool. A tool that will save professionals, and myself, many hours of work, and yes, will bring the art of photo-editing closer to anyone of any skill level.

What’s your take on this? Art or cheating?

P.S. The “rule of thirds” grid in the crop tool, how cool is that? A nice little touch there.

A Lesson Learned…

Last week my friend and I were eating lunch in the park when a pair of Air Force helicopters roared through, the wind from their blades blowing bags off our bench.

By the time I’d pulled the camera from my bike panniers, the choppers were directly overhead. I clicked away until they were gone, then looked at my photos.

(Photo taken at 1/4000, f/5.6, ISO 800)

I confess that sometimes I’m rather lazy with my camera settings, thinking, “Ah well, I’ll fix it in Photoshop.” But after a month spent thinking and writing about creative exposures, the first thing I thought when I saw these photos was, “Oops.”

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Histograms in Action

Recently we looked at how histograms show the tonal data of an image, now lets put them to some practical use.

Histograms are ideal to help us understand the contrast in our images. When a picture seems a bit “foggy”, we can look at the histogram and see exactly where the graph is unbalanced. Maybe the tonal information is mainly in the middle of the histogram, thereby showing a lack of both shadows and highlights; or perhaps the graph is mainly to the left of the centre showing that, while the dark tones are fine, the whites are underexposed.

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Exposure – Aperture and DoF

This is part of a four-part series on exposure.

Click here to read an overview of exposure, and for shutter speed and ISO.

Aperture

The opening to the camera lens is called the aperture. You are able control the size of this opening, in increments known as f/stops, thereby choosing the amount of light you want to let through the lens and into the camera in one go. The f/stop numbers go from small; when the aperture is at its widest, to large; when the aperture is small.

To demonstrate, here is a lens aperture at f/2.8:

Camera aperture at f/2.8

f/2.8

And here is an aperture at f/16:

Lens aperture at f/16

f/16

While the shutter speed lets you chose how long the light enters the camera, the aperture lets you choose how much light is able to enter in that time. Closing the aperture is known as “stopping down”, while opening it is “stopping up”. Even though modern digital cameras generally have the ability to be set to 1/2-stops, or 1/3-stops, the range of full f/stops is still useful to be aware of because it corresponds to the standard range of shutter speeds (which is also more varied on modern cameras).

Full f/stop range: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32
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The Subconscious Photographer

Sometimes I wonder if I make my photography creative choices as consciously as I think I do. When I first got my SLR, I carried it with me everywhere and took photos constantly. After a little while of taking so many photos, I began to be aware of unintentional patterns in what I was taking. Some of them were unexpected.

Walls for instance.

I didn’t notice the crisp geometry that you get in new walls, the rough, worn textures in old walls, or the variety of plants and vines that grow across them, until I began to find photos that I had been taking of them. I had subconsciously begun “collecting” them. Now I’ve made it conscious and I do keep an eye out for walls that catch my attention while I’m out taking photos.

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Histograms Demystified

Histograms are a much misunderstood species, but can be an incredibly useful tool for any photographer and Photoshop artist. In my previous tutorial about clearing a colour cast I have already shown one example of how you can use these graphs; there are countless other ways they make themselves invaluable. And it’s not just in Photoshop that histograms are a useful guide. They can also be found in the display options of all digital SLR cameras, and most point-and-shoot cameras, and can be a useful aid in achieving correctly exposed photos.

I use them constantly while I’m working in Photoshop, so before I write any more tutorials that use these I’d like to give a quick explanation as to what it is you’re looking at, and why they’re so helpful.

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Exposure – Shutter Speed

This is part of a four-part series on exposure.

Click here to read an overview of exposure, and about shutter speed and aperture.

Shutter Speed

Last week we talked about basics of exposure – essentially what does what. I’d like to begin going into these in some more detail, starting today with Shutter Speed.

Shutter speed, aperture and ISO are inextricably linked together. To achieve your perfect image, all of them are equally important and they have to balance each other out. Sometimes this link is more or less obvious than at other times, but it’s always there.

There are countless combinations of these three elements that will grant you a technically accurate exposure… that is, provide enough light to show all the detail in the picture, without it being under or over-exposed. This is generally pretty easy to achieve; set your camera to auto and press the shutter button.

But the real fun begins when you start to look at possible photo opportunities with some understanding of the way each of these elements will affect your image. Then, instead of simply trying to get the right amount of light to create an “okay” looking photo, you can choose your settings creatively to gain the best result from the subject in front of you.

Before taking each photo you can think, “Do I want this whole scene in focus? Or do I want to isolate just one area and blur the rest?”, “Do I want to freeze the motion in my photo? Or would I prefer a stretch of sweeping motion-blur to create a different, more dynamic effect?”, and even, “Do I want this image to have a completely smooth finish, or would this subject be complimented by a more gritty, noisy texture?”

As you make a practice of thinking like this, and of experimenting whenever possible, more and more possibilities become obvious with every photo opportunity.

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My mini St Albans adventure

Now that I finally have a bike, a whole world is opening in front of me. Last week I realised that there is a train station tucked away right near my house that connects to St Albans, my favourite place nearby, so yesterday I got on my bike and went out for a little adventure, just me, my camera and a book to read.

When I found the station I could understand how I’d never known of its existence before. It’s a single platform by the side of a road, with a couple benches and one train an hour.

(Photo taken at 1/320, f/8.0, ISO 400)

I timed it perfectly, and just half an hour after leaving my house, I was already at St Albans Abbey with the bell chiming above me. (Hmm, is it still “chiming” when it’s a very big heavy bell? I think it was probably “tolling”, more than chiming…)

(Photo taken at 1/640, f/3.5, ISO 200)

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Straightening using the Ruler Tool

Today’s tip is one that has saved me at least a couple minutes on every photo I’ve used it on… if I multiply all these minutes by the amount of photos I’ve edited, it equals a rather large amount of time saved.

When you’re shooting without a tripod, or on a boat as I was when I took the example photo, there will almost always be a slight angle to some of your horizons. I find that often when I have a niggling feeling of something being wrong with one of my photos, if I check the horizon I discover that it’s slightly tilted. Sometimes only by a degree or so, not enough that it’s obvious, but enough for me to feel that something’s not right.

To fix this problem you can either carefully rotate the photo to the right and left a degree here and there, until it starts to look straight. Or. You can use this very useful little tool to fix it in seconds.

Step One: Take a photo that needs straightening. In this example the waterline is only off kilter by a tiny amount, but it’s enough to make a difference.

Image in photoshop, crooked waterline


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