Wednesday, October 30, 2013
Tuesday, October 29, 2013
Photoshop water woman tutorial
Part 1
Part 2
written tutorial:
http://www.devwebpro.com/transform-so...
Image 1:
http://images.ientrymail.com/stumbleo...
Image 2:
http://images.ientrymail.com/stumbleo...
Image 3:
http://images.ientrymail.com/stumbleo...
Monday, October 28, 2013
Sunday, October 27, 2013
Tuesday, October 15, 2013
Prix Bayeux-Calvados
Corresponants de Guerre 2013
Gallery : Visitez tout l'album photo Prix Bayeux 2013
Prix BX-Calv. Mémorial des reporters.
Prix BX-Calv. Remise des Prix.
Le jury du 20e Prix Bayeux-Calvados des correspondants de guerre, présidé par le photographe James Nachtwey, a décerné samedi ses trophées, dont la quasi-totalité attribués à des reportages sur le conflit syrien, qui couronnent notamment Le Monde, TF1, la BBC et l'AFP. Cinquante-cinq reportages étaient en compétition.
Official site:
Le palmarès
- Trophée Photo (prix Nikon) : Fabio Bucciarelli (AFP), « Bataille à mort », Syrie.
- Presse écrite (prix du conseil général du Calvados) : Jean-Philippe Rémy (Le Monde), « Sur le front de Damas », Syrie.
- Radio (prix du Comité du Débarquement) : Marine Olivesi (CBC), « Moussa et Alomari, livreurs à domicile sur une ligne de front », Syrie.
- Télévision (prix de la région Basse-Normandie) : Sophie Nivelle-Cardinale (TF1), « Au cœur de la bataille d’Alep », Syrie.
- Télévision grand format (prix SCAM) : Ben Anderson (BBC), « Mission accomplie ? Les secrets de Helmand », Afghanistan.
- Jeune reporter (parrainé par Capa Presse TV) : Florentin Cassonnet (XXI), « Treize Anglais sur le chemin de Damas », Europe et Syrie.
- Web journalisme (prix Nikon) : Jean-Philippe Rémy et Laurent Van der Stockt (lemonde.fr), « Syrie : au cœur de la guerre », Syrie.
- Prix Ouest-France – Jean Marin (presse écrite) : Wolfgang Bauer (Die Zeit) : « La mort vient du ciel », Syrie.
- Prix Fondation Varenne des lycéens de Basse-Normandie (télévision) : Sophie Nivelle-Cardinale (TF1), « Au cœur de la bataille d’Alep », Syrie.
- Prix du public (photo) parrainé par le ministère de la Défense : Javier Manzano (AFP), « Siège d’Alep », Syrie.
Le journaliste du Monde, Jean-Philippe Rémy, a remporté, le Prix Bayeux-Calvados des correspondants de guerre dans la catégorie presse écrite pour son reportage "Sur le front de Damas".
Tuesday, October 8, 2013
Photoshop reflection effect: how to add water to your landscapes
In this tutorial will show you how to create a reflection in Photoshop by using transformation tools and filters to add water to landscapes.
Reflections can add a pleasing symmetry to scenic shots, but they can be tricky to produce in-camera – a strong wind may create too many ripples for a clean mirror image. Here, we’ll show you how to add computer-generated reflections and control the strength of the ripples, before tweaking the colour and tone.
How to add a reflection in Photoshop
01 FLIP THE TREE
Download start image and follow along! Use the Rectangular Marquee tool to select the tree, then press Cmd/Ctrl+J to copy the selection and paste it onto a new layer. Grab the Move tool, then tick Show Transform Control. Drag the central pivot point to the bottom of the bounding box. Right-click inside the box and click Flip Vertical. Hit Enter.
Download start image and follow along! Use the Rectangular Marquee tool to select the tree, then press Cmd/Ctrl+J to copy the selection and paste it onto a new layer. Grab the Move tool, then tick Show Transform Control. Drag the central pivot point to the bottom of the bounding box. Right-click inside the box and click Flip Vertical. Hit Enter.
02 CREATE A REFLECTION MAP
Create a new transparent layer, then go to Edit>Fill. Set Contents to Use: White and click OK. Next, go to Filter>Filter Gallery. Navigate to the Sketch folder and choose Halftone Pattern. Set Pattern Type to Line, Size to 12 and Contrast to 5. Click OK. Go to File>Save As and save the layered file as ReflectionMap.psd.
Create a new transparent layer, then go to Edit>Fill. Set Contents to Use: White and click OK. Next, go to Filter>Filter Gallery. Navigate to the Sketch folder and choose Halftone Pattern. Set Pattern Type to Line, Size to 12 and Contrast to 5. Click OK. Go to File>Save As and save the layered file as ReflectionMap.psd.
03 DISPLACE THE REFLECTION
Click the eye icon by the filtered layer (Layer 2) to hide it, then right-click on the flipped tree layer (Layer 1) and choose Convert to Smart Object. Go to Filter>Distort>Displace, then set the Horizontal Scale to 5 and the Vertical Scale to 3 before hitting OK. Browse to select ReflectionMap.psd and click Open.
Click the eye icon by the filtered layer (Layer 2) to hide it, then right-click on the flipped tree layer (Layer 1) and choose Convert to Smart Object. Go to Filter>Distort>Displace, then set the Horizontal Scale to 5 and the Vertical Scale to 3 before hitting OK. Browse to select ReflectionMap.psd and click Open.
04 TINT THE REFLECTION
Click on the Create New Adjustment Layer icon and select Solid Colour. Choose a dark blue from the Colour Picker and click OK. Choose Layer>Create Clipping Mask, then change the Colour Fill layer’s Blend Mode to Colour. Reduce the Opacity to 14%. Add a Levels Adjustment Layer, then go to Layer>Create Clipping Mask.
Click on the Create New Adjustment Layer icon and select Solid Colour. Choose a dark blue from the Colour Picker and click OK. Choose Layer>Create Clipping Mask, then change the Colour Fill layer’s Blend Mode to Colour. Reduce the Opacity to 14%. Add a Levels Adjustment Layer, then go to Layer>Create Clipping Mask.
05 FLATTEN THE CONTRAST
Go to the Levels Adjustment Layer’s Properties panel and drag the Output Levels shadow slider to 29 and the Highlights slider to 200. To break up the water’s surface, create a new transparent layer and go to Filter> Render>Clouds. Choose Filter>Blur>Gaussian Blur, set Radius to 80 and click OK.
Go to the Levels Adjustment Layer’s Properties panel and drag the Output Levels shadow slider to 29 and the Highlights slider to 200. To break up the water’s surface, create a new transparent layer and go to Filter> Render>Clouds. Choose Filter>Blur>Gaussian Blur, set Radius to 80 and click OK.
06 TRANSFORM PERSPECTIVE
Go to Layer>Create Clipping Mask and press Cmd/Ctrl+T. Hold down the Cmd or Ctrl key and drag the cloud layer’s top two corner handles down to the water line. Drag the bottom corner handles horizontally outwards to add perspective. Hit Enter. Change the Blend Mode to Soft Light and reduce Opacity to 53%.
Go to Layer>Create Clipping Mask and press Cmd/Ctrl+T. Hold down the Cmd or Ctrl key and drag the cloud layer’s top two corner handles down to the water line. Drag the bottom corner handles horizontally outwards to add perspective. Hit Enter. Change the Blend Mode to Soft Light and reduce Opacity to 53%.
Watch our Photoshop reflection video tutorial
To see how our Photoshop reflection technique performed in action, watch our video tutorial below!
Photoshop depth of field effects: how to make an f/22 exposure look like f/1.2
In this tutorial will show you a really easy way to use simple Photoshop effects to create a sense of shallow depth of field in any image.
Shooting with an open aperture creates that lovely shallow depth of field focusing the eye on a subject while blurring out its contextual setting.
But while automated modes or simpler cameras, such as mobile phones, may not provide the luxury of aperture control, a little understanding of Photoshop’s Layer Masks allows even the longest f/22 exposure to look like it was taken at f/1.2.
Masks provide a non-destructive method allowing selective layer visibility depending on the mask content. Create a mask using the Add Layer Mask icon at the foot of the Layers Panel.
This becomes visible in the Layers Panel, linked and filled with white by default. Click to select it and paint or fill any areas with black to hide, or mask, areas from view.
This simple method allows us to duplicate and blur our image and simply paint into the scene the focused areas to complete our finished effect.
How to create shallow depth of field in Photoshop
01 Duplicate and blur
Duplicate your original image layer and blur the copy using the Filter>Gaussian Blur. The amount of blur you apply will depend on the content and composition of your image.
Duplicate your original image layer and blur the copy using the Filter>Gaussian Blur. The amount of blur you apply will depend on the content and composition of your image.
02 Create the mask
With your blurred layer selected, click the Add a Mask button at the base of the Layers Panel. Your mask appears as a white box next to your layer thumbnail. Click to select it.
With your blurred layer selected, click the Add a Mask button at the base of the Layers Panel. Your mask appears as a white box next to your layer thumbnail. Click to select it.
03 Reveal sharp areas
Make use of the Brush tool as well as Photoshop’s various other selection and fill tools to paint black onto the mask to reveal sharp areas from the lower Background layer.
Make use of the Brush tool as well as Photoshop’s various other selection and fill tools to paint black onto the mask to reveal sharp areas from the lower Background layer.
Body photography ideas: how to make a striking nude photo composite
Nudes and body photography are some of the most enduring subjects for photographers to shoot, but the challenge lies in finding creative ways to do it. In this tutorial we’ll show you a simple technique of superimposing a shot of flowers onto a nude figure to create a striking and atmospheric composite.
In this tutorial we’re going to create a amazing body art effect by blending a photo of a field of flowers with a fine art nude portrait. The end result is incredibly convincing, and you might think it takes hours of painstaking work with Elements’ Brush tool, but the technique is actually quite simple.
The key to creating the effect is Elements’ clipping mask feature. Not to be confused with regular layer masks, a clipping mask enables you to effectively place one image within the outline of another image to create elaborate graphic effects.
The clipping mask alone won’t create a convincing effect, however, so to blend the flowers image with the contours of our model’s body we’ll use the Hard Light blending mode, layer masks and the Burn tool.
Once you get the hang of this technique its easy to adapt it for your own projects, from creating a simple tattoo to spectacular and realistic graffiti.
How to make your nude body photography composite
01 Open and Crop
Download start images and follow along! Go to File > Open, select nude_start_1.dng and click Open – as it’s a Raw file it will open in Adobe Camera Raw. We’ll start by using the Crop tool to remove some of the background. Right-click the tool’s icon and choose the 2 to 3 ratio option, then draw a crop around the figure for a tighter composition. Next we’ll make some Raw adjustments to convert the image to monochrome and boost the contrast.
Download start images and follow along! Go to File > Open, select nude_start_1.dng and click Open – as it’s a Raw file it will open in Adobe Camera Raw. We’ll start by using the Crop tool to remove some of the background. Right-click the tool’s icon and choose the 2 to 3 ratio option, then draw a crop around the figure for a tighter composition. Next we’ll make some Raw adjustments to convert the image to monochrome and boost the contrast.
02 Raw adjustments
Set Exposure to +0.75 to lighten the image and bring out more detail, and set Highlights to -22 to pull back the brightest highlights. Set Contrast to +31, and set Shadows to -30 to lighten the shadows on the body. Set Blacks to -8, and Clarity to +10 to enhance the midtone detail, then reduce Saturation to -100 to make the image mono. Click Open Image to open the image in Elements’ Full Edit/Expert mode.
Set Exposure to +0.75 to lighten the image and bring out more detail, and set Highlights to -22 to pull back the brightest highlights. Set Contrast to +31, and set Shadows to -30 to lighten the shadows on the body. Set Blacks to -8, and Clarity to +10 to enhance the midtone detail, then reduce Saturation to -100 to make the image mono. Click Open Image to open the image in Elements’ Full Edit/Expert mode.
03 Remove blemishes
Press Ctrl+J to duplicate the ‘Background’ layer and select the Spot Healing Brush tool. Zoom in on the model’s right thigh and paint over the strap mark to remove it, then go around the rest of the image to remove other blemishes from the skin and white marks from the black background.
Press Ctrl+J to duplicate the ‘Background’ layer and select the Spot Healing Brush tool. Zoom in on the model’s right thigh and paint over the strap mark to remove it, then go around the rest of the image to remove other blemishes from the skin and white marks from the black background.
04 Select the figure
Take the Quick Selection tool, set the brush size to around 50 pixels and paint a selection over the body. If you select bits of the background, hold down Alt and paint over these areas to deselect them. Click the Refine Edge button, and in the Refine Edge dialog set Smooth to 9 and Feather to 2 pixels. Choose New Layer with Layer Mask from the Output To menu and press OK. Click the visibility box for the layer below to make it visible again.
Take the Quick Selection tool, set the brush size to around 50 pixels and paint a selection over the body. If you select bits of the background, hold down Alt and paint over these areas to deselect them. Click the Refine Edge button, and in the Refine Edge dialog set Smooth to 9 and Feather to 2 pixels. Choose New Layer with Layer Mask from the Output To menu and press OK. Click the visibility box for the layer below to make it visible again.
05 Create a clipping mask
Open nude_start_2.jpg. Take the Move tool, drag the image onto the nude_start_1 image’s tab, and release the mouse button to add it as a new layer. Next go to Layer > Create Clipping Mask (Ctrl+G): the flower layer will now only be visible within the outline of the figure (see Phrase Book). You can use the Move tool to reposition the flower layer.
Open nude_start_2.jpg. Take the Move tool, drag the image onto the nude_start_1 image’s tab, and release the mouse button to add it as a new layer. Next go to Layer > Create Clipping Mask (Ctrl+G): the flower layer will now only be visible within the outline of the figure (see Phrase Book). You can use the Move tool to reposition the flower layer.
06 Change the blending mode
Change the flower layer’s blending mode to Hard Light to blend the image with the skin, and reduce its Opacity to 80%. Now add a layer mask to the flower layer and select the Brush tool. Choose a soft-edged black brush around 100 pixels in size, and paint over the model’s hair and neck to hide the flowers image.
Change the flower layer’s blending mode to Hard Light to blend the image with the skin, and reduce its Opacity to 80%. Now add a layer mask to the flower layer and select the Brush tool. Choose a soft-edged black brush around 100 pixels in size, and paint over the model’s hair and neck to hide the flowers image.
07 Reveal the contours
Set the brush Size to 200 pixels and Opacity to 30%, and paint over the shadow and highlight areas on the body to fade the flower image and allow the contours of the body to show through. To further emphasise the contours, target the flowers layer itself (not the mask) and brush over the shadow areas on the skin with the Burn tool, with Range set to Midtones and Exposure set to 10%.
Set the brush Size to 200 pixels and Opacity to 30%, and paint over the shadow and highlight areas on the body to fade the flower image and allow the contours of the body to show through. To further emphasise the contours, target the flowers layer itself (not the mask) and brush over the shadow areas on the skin with the Burn tool, with Range set to Midtones and Exposure set to 10%.
08 Change the colours
You can change the colour of the flowers using a Hue/Saturation adjustment layer: we set Hue to -42 to turn the flowers red, and reduced the Saturation to -31. To finish off add a Levels adjustment layer, and set the Shadows slider to 14, the Midtones slider to 0.95 and the Highlights slider to 242 to boost the contrast of the image.
You can change the colour of the flowers using a Hue/Saturation adjustment layer: we set Hue to -42 to turn the flowers red, and reduced the Saturation to -31. To finish off add a Levels adjustment layer, and set the Shadows slider to 14, the Midtones slider to 0.95 and the Highlights slider to 242 to boost the contrast of the image.
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