Using Photographic Toning in Photoshop CS6

Photographic Toning in Photoshop CS6. The new Photographic Toning presets for the Gradient Map image adjustment lets us choose from a collection of professional quality tinting and split-toning effects for our images. In this tutorial Photoshop tutorial, we are going to learn how to load these presets and also how to use them and apply them to our image.

1. Open whatever image you would like to work on in Photoshop. This is the image we will be using for this tutorial:


2. Go to the Adjustments panel, and click on the Gradient Map icon. A new adjustment layer will be created.

3. A default setting will appear on your image. But you can always change these settings according to your needs.

4. In the Properties panel, click the drop down arrow to open the Gradient Picker. You will find many gradient presets here.

5. But we want to use the presets from Photographic Toning. So click the small gear located on the right, and then from the list that appears, choose Photographic Toning to load the many different gradient presets.

6. A dialog box will appear seeking your permission to either replace the current set of gradients with the new Photographic Toning gradients, or to just add the new gradients in with the current ones. Click OK.

7. You may want to work with thumbnails and that is fine. But you can change these to a list form for your ease by clicking the gear again and choosing Small List or Large List.

8. You can extend the size of the Gradient Picker to view more presets at a time. Drag the bottom right corner of the Gradient Picker downward.

9. Click on any preset to apply it to your image. If you’re not satisfied, click on another preset. You can use the down key on your key board to keep checking out the effects of different gradient presets. And the application of one will not have an effect on the application of another. So you are simply switching between different presets. The first half of the list is the Tinting presets. These produce a tinting effect on your image.

10. If I decide to use Sepia 2 preset in the gradient picker, this is a preview of what my image will look like:

11. And here’s a different preview if I decide to use Gold 2 from the list:

12. The second half of the Photographic Toning presets is the split-toning presets. These apply one tone to the lighter areas of the image and a different tone to the darker areas of the image.

An example is the effect produced when I apply Cobalt-Iron 2 to my image:

13. And don’t worry, you can switch back to the old presets anytime simply by clicking Reset Gradients. 

That’s it, babe.

Final Picture:

[Originally posted to]

How to create selective monochrome effects in Photoshop

How to create selective monochrome effects in Photoshop

Step 1

How to create selective monochrome effects in Photoshop Open an image that has a subject with striking colour. We’ll keep this colour and turn everything else black and white. The Magic Wand tool is ideal to select colour. Choose the tool, and then untick the Contiguous box in the Options bar. This makes sure the tool selects colour across your entire image. Make sure the Anti-alias box is ticked and the Tolerance is set to around 75px.

Step 2

How to create selective monochrome effects in Photoshop Click anywhere on the colour that you want to keep. You can increase the Tolerance number if the tool has failed to cover much ground. Ctrl/Cmd+D to remove the selection if you need to start again. Continue to select more of the same colour by holding Shift while clicking. Hold Opt/Alt while clicking to remove areas of the selection that happen to overflow.

Step 3

How to create selective monochrome effects in Photoshop For the effect to work well, be sure to select as much of the colour as possible. Try to get close to the edges where the colour meets other colours. You can lower the Tolerance to get a more accurate selection as you go. Flick between the normal version of your image and the Quick Mask mode (Q) to see just how your selection is taking shape.

Step 4

How to create selective monochrome effects in Photoshop In Quick Mask mode the areas of red will not be included in the selection and areas that show will be. If you can spot any small specks of the image coming through the Quick Mask that shouldn’t be there, use the Brush tool set to black to retouch them and apply a mask. Use the Eraser tool to remove parts of the selection that shouldn’t be masked.

Step 5

How to create selective monochrome effects in Photoshop When you’re confident that the mask is accurate and the selection looks good around the colour you want to keep, press Cmd/Ctrl+Shift+I, or go to Select>Inverse. This flips the selection. Go to Layer>New Adjustment Layer>Black & White, and what you should see in the Layers palette is a new adjustment layer with a mask moulded to the selection that was just made.

Step 6

How to create selective monochrome effects in Photoshop The Black & White adjustment layer gives your image a basic conversion from colour to monochrome. But this adjustment layer contains a number of sliders and also presets, which can mix up the monochrome effect. Firstly, cycle through the presets to choose one that brings out the most detail in the black and white areas. The option Lighter works well if your image has lots of sky involved.

Step 7

How to create selective monochrome effects in Photoshop There is a collection of sliders in this adjustment that change the look of the black and white effect. Each slider represents a colour, and by increasing certain ones you’ll be able to retrieve details from the parts of the image that are in shadow. There are no rules to this, as it’s really down to which one you think looks the best.


[this post syndicated from Photoshop Daily]

Tips for Setting up a Shot in Photography

When you hear the word workflow, you automatically think about the editing process. However, there is a workflow when it comes to taking photographs too. It’s the few simple things you think about while getting ready to take your photographs.

photo setup tips

Photo captured by Lena Bulgakova (Click Image to See More From Lena Bulgakova)

These steps are in the order I think about my photographic workflow, but you can certainly do these in any order.

1. Consider the situation. What sort of situation am I in? Each situation will call for different ways for me to take the photographs and will have different ways on how I interact with the subject matter. How I set up my compositions. How long can I spend with the subject? What attention span does the subject have? How creative can I be? What lens(s) am I going to use?

2. Next, I consider the composition. Will portrait or landscape work better? Are there foreground elements or other elements I can use for framing or leading lines? How is the background? Does the background/foreground clash with my subject?

3. Then I consider motion and depth of field. If I am shooting fast action – I may want to freeze the action or pan and show motion blur. If I am shooting portraits or macro nature, I may want to have a deep depth of field. Knowing which I am trying to capture, motion or depth of field, lets me know what I will be using to control light. If I am using shutter speed to control motion, then I will be using aperture and ISO to control light. If I am using aperture to control my depth of field, I will be using shutter speed and ISO to control light.

4. Flash on or off? The first thing I like to do is decide if I’m going to use my flash or not. If I’m going to use a flash, more than likely it will be an external flash. On the rare occasions when I use onboard flash, I use my Prof. Kobre Light Scoop to bounce the onboard flash and to soften the background shadows.

5. Set my White Balance. I usually shoot in AWB. However, if it’s really sunny outside, if I’m shooting in the shade, photographing in a banquet hall, or inside a gymnasium, I’ll set a different white balance setting. Depending on how harsh the lighting conditions and the surrounding, I may even set a custom white balance.

6. Finally – I set my ISO. I usually start around 400 and go from there. If I’m outdoors and it’s really sunny, I’ll back off to 200 or 100. If I’m shooting indoors under low lighting, I’ll bump up to 800. I try not to shoot over 1000.

composing a photo

“Space Needle” captured by Joe Thompson (Click Image to See More From Joe Thompson)

This is simple workflow for photography. It helps you take the few moments you need to compose your scene carefully and also gives you the time to think about what and how you are going to be shooting. Next time you are out and about shooting, give it a try.

About the Author:
Professional photographer Loreen Liberty ( has been taking photographs since her early teens, and has been in the professional industry for the past nine years. After many successful years as a wedding and portrait photographer, Loreen decided to turn her attentions to teaching photography full time. “It gives me more time to practice my craft and be artistic for myself.”

[this post syndicated from Picture Correct]

Make a composite image in Photoshop Elements: how to use Layers to add depth

Photoshop Elements is more than just a Photoshop alternative. Discover how you can use Layers to make a composite image in Elements, replacing dull skies and creating an overall image with wider depth of field.

Make a composite image in Photoshop Elements: how to use Layers to add depth

Layers are one of Photoshop Element’s most useful and powerful tools. Here, we’ll use layers, adjustment layers and layer masks to combine three separate images into a single composite shot that has a wider depth of field than the originals.
In theory we could have captured our tutorial’s end result in-camera.

By waiting for the right time of day, we could have photographed the cathedral against a romantic sunset backdrop. By using a narrower aperture setting, we could have captured both the foreground tree and the background building in focus in one shot.

In practice, we may not have had the time to wait around for the right weather conditions. In auto mode, our camera may choose a wider aperture setting, causing foreground objects (such as a foreground tree stump) to be nice and sharp while leaving a background building looking blurred (or vice versa).

Focus stacking
We shot two versions of our landscape scene. In one, the foreground tree is in focus while the building is blurred. In the other, the tree is out of focus while the cathedral remains sharp.

We’ll show you how to place both images into the same Photoshop document as separate layers, then combine the focused features to create a shot with a wider depth of field.

As the start images were captured handheld, you’ll learn how to re-position the two layers so that they overlap perfectly, enabling you to blend the focused details together more effectively.

How to make a composite image in Photoshop Elements: steps 1-6

How to make a composite image in Photoshop Elements: step 1

01 Open the start file
Download our start files and follow along! Launch the Photoshop Elements Editor. Click on the Expert tab. Go to File>Open. Browse to the folder containing our three start images. Shift-click to select all three and click the Open button. The three shots will open in Photoshop Elements. You’ll see them in the Photo Bin.


How to make a composite image in Photoshop Elements: step 2

02 Examine images
Press Ctrl+Tab to cycle through the three open shots (or double click on a Photo Bin thumbnail to view it in the main workspace). Layers01_before.jpg focuses on the background cathedral; Layers02_before.jpg focuses on the foreground tree stump; and Layers03_before.jpg features a sunset.


How to make a composite image in Photoshop Elements: step 3

03 Copy and paste
Go to Layers02_before.jpg. Choose Select>All. A ‘marching ants’ selection marquee will appear around the edges of the shot. Choose Edit>Copy. This copies the selected image to your computer’s clipboard. Go to Layers01_before.jpg. Choose Edit>Paste to add the copied image as a new layer.


How to make a composite image in Photoshop Elements: step 4

04 Hide and show
You now have a layered document that has two image layers. The Background layer contains the image from Layers01_before.jpg. The new Layer 1 contains the copied shot from Layers02.jpg. Click Layer 1’s eye icon to turn the top layer on and off. This enables you to compare the two shots.


How to make a composite image in Photoshop Elements: step 5

05 Compare layers
By turning the top layer on and off, you can see that our handheld camera has rotated slightly clockwise when shooting Layers02_before.jpg. It’s also panned a little to the right. This means the contents of both layers are not perfectly aligned, so it will be a challenge to blend the focused sections together.


How to make a composite image in Photoshop Elements: step 6

06 Change opacity
Click on Layer 1’s thumbnail to make it the active layer. Drag the Opacity slider left to a value of 50% (or type a 50% value into the Opacity box). By making the top layer semi-transparent, you can compare the position of its building and tree stump with the same features on the Background layer below.

PAGE 1 – How to make a composite image in Photoshop Elements: steps 1-6
PAGE 2 – How to make a composite image in Photoshop Elements: steps 7-12
PAGE 3 – How to make a composite image in Photoshop Elements: steps 13-18

[syndicated from Digital Camera World]

Guide to DIY Photo Booth Backdrops

Party time! Excellent!

‘Tis the season for some serious partying and these days no party is complete without a photo booth.

Setting up a photo booth is as simple as providing a backdrop and encouraging your pals to point their smartphones toward it.

We’re here to help you with that first part (you herd your own friends in front it).

We’ll teach you three easy-peasy ways to craft a party poppin’ backdrop.

Give your party photos that extra schwing and have your friends chanting “we’re not worthy! we’re not worthy!”

Learn to Make 3 Simple Festive DIY Backdrops

Read the rest of Guide to DIY Photo Booth Backdrops (490 words)

© Karla for Photojojo, 2013. |

How to load brushes into Photoshop Elements

Note:  the fastest way to load brushes into Photoshop Elements is to drop them into an Add-O-Matic. It will add all sorts of goodies into Elements for you with a drag & a drop.  Grab one here:

For Elements 11-12 & Lightroom 4+

By clicking the button below, I agree with the Terms & Conditions.

For Elements 6-10
By clicking the button below, I agree with the Terms & Conditions.

The ABR format relates to a Photoshop brush file. Here is a quick step by step to load this type of file into Photoshop Elements.

How to load brushes into Photoshop Elements

Step 1

How to load brushes into Photoshop Elements

In Photoshop Elements, go to the Edit menu and locate the option ‘Preset Manager’.

Step 2

How to load brushes into Photoshop Elements

In the Preset Manager, set the ‘Preset Type’ list to show Brushes. This will reveal all of the brushes that are currently useable with your Brush tool.

Step 3

How to load brushes into Photoshop Elements

Click on the Add button in the Preset Manager. Locate the ABR file on your PC and double-click it to load it into the Preset Manager.

Step 4

How to load brushes into Photoshop Elements

The arrangement of brush thumbnails will now alter to include this loaded set of brush (the ABR file). Hit Done in the Preset Manager to save these changes.

Step 5

How to load brushes into Photoshop Elements

Open an image or blank canvas, and locate your Brush tool (press B). Right-click to view the available brush tips for this tool, which should include the previously loaded ABR file.

[this post syndicated from Photoshop Daily]

Foi olhando o mar

Laine Cristine has added a photo to the pool:

Foi olhando o mar

“Foi olhando o mar que eu vi as ondas da vida passando ao meu lado,turbulentas,grandes,quase que impossiveis de alcançar..
Só no final pude ver que elas acabam,porque não vivem apenas de contrações,mas de calma e paciência,agindo conforme o vento toca,e finalizando-se como Deus quer conduzir.”


Obrigada pelas visitas =)

[from Graffi's That Retro Lo-Fi Look group on Flickr]

Natural Light Photography Tips

Natural lighting in photos can give off a pure vibe that artificial lighting often has trouble providing for you. There are several techniques you can use when using natural light photography. The lighting of the sun can create many stunning spectrums of colors throughout the day that could result in beautiful photos. However, with this in mind you shouldn’t just run outside and start snapping as many photos as you can without putting some thought behind them first. There are some aspects of taking photos using natural light that you should probably be aware of.

natural light photo

Natural Light flows through the shattered and broken windows at the Packard Plant in Detroit, Michigan.

Natural light can be tricky sometimes, so you may have to toy around with your cameras settings to get the exact lighting you’re looking for. Most digital cameras come with different settings that are beneficial to use when attempting to take pictures in natural light. Natural light can be changed using your cameras settings in many ways depending on what it looks like outside – if it is unbearably sunny out, you probably don’t want to use flash. However, if the image you are looking to produce looks better with the flash, then by all means, use it.

Get used to trying out different ways of using natural light, because this is the best way to figure out what kind of pictures you think look best. Lighting is a fun aspect of photography to play with, even when you’re not sure what you’re doing. Experimenting with natural light is a fun way to find techniques that you enjoy using.

How the Time of Day Affects Natural Light

As you probably already know, different times of day means the sun is in different parts of the sky. The lighting during whatever time of day you choose to take photos will determine where the shadows in the photo lay.

photography in natural light

Had I taken this shot just 15 minutes earlier (or later) the natural light from the sun wouldn’t have given me the shadows or reflections off the rocks I was looking to for.

Shadows from natural light alone can make a photo look stunning or awkward – for example, say the lighting of the sun was coming from directly above your subject. If this subject was a girl, she might look like she has a goatee from the shadow of her chin onto her neck. Maybe your female subject actually does have a goatee, but if she doesn’t I don’t imagine you (or she) wants to make it seem like she does. That’s awkward. On the other hand, if you take a photo of the same girl around the time the sun was setting, the natural light will be more golden at this time giving her fresh and glowing skin. It all depends on the techniques you, your camera, and your subject can work with using the lighting.

Using Shadows with Natural Light

Shadowing in natural light photography can often set “moods” of the photo. Heavy shadowing techniques in photos can depict a dark, heavy mood. If you limit the colors in the photo, it can be seen as even darker.

natural light shadows

The combination of the light coming from the sun and the shadow of Shea underneath him, along with the heavy, graduating shade from under the overpass create a 3-D-like sense in this photo.

Also, light shadowing effects can provide a more happy mood and also provide a sense of “realism” by making the photo seem more 3-D. Lighting and shadows using natural light can be played around with to set the mood that you’re looking for.

Shooting Indoors With Natural Light

You don’t have to be outside to use natural light photography, either. Techniques you can use for using natural light can be found inside, too (side note: these techniques are the best option for vampire photographers who melt in direct sunlight.) For instance, take pictures of your subject near a window.

indoor natural light

This self-portrait of me was taken in front of a window on a sunny day. I exposed for the highlights on my face to ensure the shadows would be dark.

If the window itself isn’t generating enough light, try placing a mirror in a spot where it can reflect the light. This technique is helpful on really hot days where, if your subject is a person, your subject won’t sweat and potentially ruin the effect you were going for. The same goes for cold weather; if your intention wasn’t to photograph an ice cube, then you may want to consider using techniques for natural light.

Cloudy Days Diffuse Natural Light

Natural light doesn’t necessarily have to be taken when it’s sunny outside. Cloud coverage can often provide adequate lighting for subjects that may need a paler natural light, or even darker lighting, depending on what kind of cloud coverage we’re talking about. You won’t get as heavy of shadows when taking pictures in overcast weather, but depending on the mood you’re trying to set that might be just what you need.

The result of your photo while trying natural light photography may also have something to do with the background of your photo. If it’s sunny outside, but snow is covering the ground, the lighting in your photo may appear much brighter than if it was just green grass. Some interesting techniques for this scenario is to place a dark subject in the snow for high contrast using natural light.

cloudy day light

This steel structure in Detroit shows well with soft light on a cloudy day. The clouds also set a stark, dark mood to the photo.

Natural light photography has many techniques that you can use to manipulate natural light. Some of the most striking and beautiful photos come from using natural light. If you’re a beginner to using natural light in your photos, try out several different techniques. Write them down so you can keep trying them out and finding out what’s best for you! That’s what photography is all about!

About the Author
Tim Kainu is a photographer, digital artist and graphic designer currently based in the little town of Berkley, Michigan. You can find him and see more of his work at his website which offers beginner photography tips. He classifies himself as an unconventional, non-traditional photographer where digital is his medium of choice. He likes to create images that would be impossible to create without the use of digital manipulation.

[this post syndicated from Picture Correct]