Welcome to Part 2 of the Smart Objects for Photographers tutorial. This is a step-by-step tutorial on processing images using smart objects, in particular, selective white balancing.
One of the great things that has happened since Photoshop CS2’s release, is the introduction of Smart Objects. Today we’ll talk about how photographers who shoot RAW can use smart objects in Photoshop to their advantage.
One the features that we have been all waiting for is soft proofing in Lightroom. Lightroom has so many quick and efficient workflow tools, but does not support one of the most fundamental tools of modern digital editing, soft proofing! (are you listening Adobe?)
We’ll see how we can virtually soft proof a RAW file undergoing adjustments for conversion.
Welcome to my second tutorial, looks like we’ve made it for another one! Today we’ll talk about enhancing colours in a photograph. In particular, we’ll talk about increasing the saturation or vibrancy in an image. Not so much the changing of, or adding of color casts, but enhancing the look of the colours that are already in the photograph to begin with.
This is one of those subjects that if you ask 10 photographers, you’ll probably get 10 different answers on how they do it. For me, I have two methods I love to use, to enhance the colours in an existing photo. They are both Photoshop techniques.
This method is quick and convenient, the feel of the image isn’t as good as the next “LAB method”, but for most purposes it works very well. This method is also often called “Velvia” action, mainly due to the look it produces which has a similar appearance to the highly saturated look of the famous Fuji Velvia transparency film.
Welcome to my first tutorial. Today we will be talking about multiple exposure blending. We will be blending multiple exposure to capture more dynamic range in a scene. This technique is more suited towards landscapes, such as those with sky and water/land structures in them where the scene is bright on one section (e.g up high in the sky) then gradually darker to the other (e.g bottom end of image).