The lighting effects filter in Photoshop has come a long way, and it borrows many concepts from the world of 3D. However, you don’t need 3D to create some very dramatic lighting effects very quickly with this often overlooked filter.
Wouldn’t it be great (for image artists) if you could arrange to have all your light sources share the same temperature? Unfortunately, that doesn’t happen in real life, and between flash, tungsten lights, fluorescent lights, and sunlight, you may find yourself with a mixed lighting bag. No single white balance setting will correct the entire image, so you have to resort to local corrections.
In this video, I’ll show you a technique in Photoshop for selecting the contaminated color areas easily, then a way to match the color of these areas to the rest of the image using some layer blending mode tricks.
Lightroom is very efficient at importing, organizing, sorting and developing, but it makes a great tool for showing your work as well. The interface, while flexible and useful, can be customized to some degree so that you can present a professional, more polished image to your clients. With Lightroom’s customization features, you can simplify the visible part of the interface, and this can even help you streamline your workflow as well.
Today, we’re going to look at customizing the side panels.
By default, Photoshop remembers the last workspace configuration you had active, and returns to that configuration when you restart the application. However, you might prefer to have Photoshop always start in one specific custom workspace configuration. Here’s how to do it, with a simple action and the Script Events Manager.
Lightroom has the capability to work with 32 bit images. This allows you to use all the familiar Lightroom Develop Module controls for adjusting and enhancing your high dynamic range (HDR) merged images. The results are natural and realistic, and it’s a pleasure to work with the full range of adjustment controls and tools with which we’re so familiar right within Lightroom.
If you’re creating image composites, and especially if you’re working with stock images, you’ll find yourself needing to extract image elements from a white background. This can be a straightforward task with Photoshop, and often you’ll get better results with some of the old school techniques.
For example, take this image from Shutterstock. Here we have a figure on a white background, and your first thought might be, “I can make short work of this with Quick Selection Tool.” (Or the magic wand).
It’s always a good idea to copyright your work, and that includes embedding the appropriate information into your image metadata. Learn the three step process to create a template to add copyright metadata, to create an action to apply your template, and to use Photoshop’s Script Events Manager to run your action every time you work on a file. It may sound scary, but it’s a simple process, and you can “set it and forget it.” I’ve written about this before a few years back, but this is a good reminder, I’ve brought it up to date with the latest version of Photoshop, and here is a video tutorial for those who prefer video learning.
You may find yourself with a list of images to create, each one based on a template but with unique data and imagery. An example would be sports team cards, or trading cards, with images and text on each one. Photoshop can help to automate this process, and all it requires is a bit of planning and up front work – and a small text file. Learn to take advantage of data driven images in Photoshop and save yourself loads of time.
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