You’ve got a great location, a great group of friends, a great camera. All the makings of a great shot, right? But you get the file off the camera and onto your computer and lo and behold: a photobomber appears. Some person detracting from the main event, intentionally or not. Happily, with the tools in Adobe Photoshop, you can remove unwanted guests or any other undesired elements from your photographs. You don’t even need the latest version of Photoshop. In fact, in this week’s episode of Deke’s Techniques, Deke takes you through the old-school method for removing a photobomber from an otherwise fantastic photo. These are results you’re not going to get with Content-Aware Fill, the Patch tool, or even the brand-new Content-Aware Move tool. No, you have to go back to the basics. We’re talking Photoshop version 3, circa 1994 basics. Watch today’s free video to learn how.
Posts Tagged ‘Adobe Photoshop’
This week Bert begins digging into the making of his digital painting “Damen,” which will be his focus for the next few episodes of Pixel Playground. Today’s tutorial shows how he created multiple train cars for the painting.
Bert deconstructs how he built the face of the train from a series of Photoshop layers. Next he takes a complete train and scales it into the proper perspective with a slight tilt to add a sense of movement on the tracks. And he wraps this week’s tutorial up by showing how to repeat this technique a few more times and create an even longer train.
Bert wraps up his three-part magazine cover project this week by teaching us how he created a realistic wood floor in Photoshop for his cinema setting. He begins the process by running a series of Adobe Photoshop filters to create a textured effect that will eventually become wood grain in his floor. Next he uses the Liquefy filter to distort the texture into more organic shapes that represent the natural pattern of growth rings inside wood. He finishes the technique by individually coloring and moving around pieces of the newly created “wood” texture to create a realistic, interlocking wood floor.
Welcome back to Deke’s Techniques! Today’s episode takes you on a trip in the “not-so-way-back machine” as we revisit an Adobe Photoshop technique from January. Deke will show you how to upsample another teeny tiny image, but this time it’s a flat file—no layers at all—and he’ll show you how to perform the resampling in CS6 and earlier versions of Photoshop. This technique shows how you can get great results even from images without a lot of data.
Watch the free video below as Deke takes a 578×750 pixel, .5 MB file and transforms it into a 1,400 percent larger version of itself with Photoshop CS6. He also shows how to mimic the results you get from the Creative Cloud upsampling algorithm with an application of Unsharp Mask.
Bert continues his magazine-cover tutorial series this week by focusing on how he created a softly lit lamp within the scene using Illustrator and Photoshop.
He begins in Adobe llustrator, creating a vector outline for the lamp. Once the basic outline has been completed, he pastes the resulting paths into Photoshop to add depth, relief, and texture to the lamp. After adding some layer effects to flesh out the base, he finishes by adding a texture to the shade, and a glowing light underneath it for a final touch of realism.
Upsampling is one of the most misunderstood topics in Adobe Photoshop. When you increase your image size without upsampling, you’re not increasing the number of pixels in that image; you’re simply spreading them over a larger area. As a result, you can end up with a pixelated, low-resolution image. But when you upsample your image, Photoshop interpolates or makes up extra pixels based on the information in the surrounding pixels. It’s not magic, not a special formula. But your mileage may vary. Photoshop treats different types of layers (backgrounds, text, Smart Objects, etc.) differently when you scale. Knowing how the layers in your image will react to upsampling can help you make adjustments beforehand that will result in a better final image. In this episode of Deke’s Techniques, Deke explains exactly how different layers react to resizing, and then shows you how to use the Median and Gaussian Blur filters to smooth out problem areas in an image before you resize it.
Continuing with Bert’s red truck project, this week we learn how to create realistic metal perforations in Adobe Photoshop. This project is simple but effective since it’s created from just a few colors and layer effects. Bert starts out by creating a black oval on a red background. Next, he applies a series of layer effects to give it depth and a consistent light source. He completes the technique by offsetting the various effects and applying some texture via the add noise filter.
3D printing is a lot like bacon: Everyone’s talking about it these days—and it’s popping up in places you wouldn’t expect. The latest news is that Adobe Photoshop CC’s new release includes 3D printing tools.
I’m creating an upcoming course on these new features for lynda.com. As I started researching them, I was admittedly skeptical. Having worked with more advanced 3D software like Maya (check out my lynda.com course on modeling for 3D printing with Maya), I thought Photoshop’s previous 3D tools felt rather bolted-on. So it was with cautious optimism that I looked into Adobe’s plans. What I found was pleasantly surprising—including some features that have been lacking in more specialized 3D printing software.