“Listening to one of the goodies that came with the set while I type this……The package to me is more than just an educational experience it’s like a spiritual package. The information was so interesting that I was able to look at both disc in one sitting. It’s like you give us everything you know to allow us to go and create art…but then you pose the question at the end…”Why are you still looking at this disc? Go out and shoot”

All the photography teaching DVD’s I’ve watched have only felt like a disappointment, like I’ve been talked down to, or that there’s no way I’d want to do that.

This one get’s the stamp of cool from me - I think you’ll enjoy it

the [b] school blog - changing the way photographers network on the web

In response to my release of the Light Touch beginner’s textures, we’re about wisdom here

Can you see what’s happening when I added the texture in the first image?

Can you quantify it in your mind?

If not I recommend taking a read of the classic text “Perception and Imaging” to give yourself a strong backbone in realizing the subtitles and abstractions of what you see.

But let’s try and put our finger on it for a moment with the end in mind - what does a texture do for an image?

In the first image I composed the shot with a piece of the ceremony decor in focus with the bride’s head in the background but out of focus.  The sharp objects are perceived by our eyes as the subject - the blurry or soft things are the ground - upon which the subject ‘rests’ or ‘resides’.  Without separation there is nothing.

So what happens when a texture file with small sharp details is introduced?

Click to enlarge (huge)

In the texture file that I used from the Lighting Overlays Disk 1 set, a focal plane runs through the image with the texture of paper in sharp focus.  In this image where only one small object is in the focal plane the texture adds to the perceived depth of the image by adding more ‘figure’ to the figure/ground relationship.  It appears as though the crystalline beads rest on something as they sway in the breeze.

The second image of the diptych shows the opposite point of focus, but has the same exact texture applied to the image.  Even with my best blue sky photo processing tricks, I couldn’t help the bride’s face rise in perceptual value without some additional lightening or darkening of the sky.  I chose the blue texture file and applied it in overlay blend mode which darkened the sky while increasing saturation.  Here’s the image as it looks straight out of camera raw.

Interesting perspective, but not the same dramatic picture energy as the finished version.  The lighting overlay helps channel the image’s tones into a dramatic and emotionally engaging corner burn (compare the top and bottom right.  The cooling blue effect helps the skin-tones rise in prominence and the overlay blend mode deepens the shadows and brightens the highlights for a stronger dimensional feel to the hazy sunlight.

I hope this discussion brings you deeper understanding on your path to visual wisdom!

Read the above full explanation, and start with these settings:

• Fill Light = 100%
• Blacks = Test this one to taste: 10-100%
• Contrast = 50-100%
• Clarity = 100%
• Vibrance = 50-100%
• Recovery = 0-100%
• Saturation = -81% rely on your vibrance to color the image and desaturate to get the metallic look.

Download the Photoshop Lightroom Grunge Preset download

Before image on the left.  Below, Dark Descent lighting overlays applied to the effect.

Have fun with the preset!

What is the Light touch texture set?  Let me ask Lao Tsu:

Tao 46

There is no greater calamity

Than not knowing what is enough.

Have you ever applied a texture to your image(s)?

Have you no idea where to start or how?

Then this set is designed for you

How can one become a master without taking the first step?  But with this set you can be guided by a master on your first step…

You will find these textures/tones an easy and rewarding first step into altering your images for deeper creative effect. To start, paste, place or apply one of these images to your photograph using the soft light, overlay, or multiply layer blend mode in your favorite image editing application. The images are in two general categories: TEXTURES, have fine grains and sharper details to add another dimension of grit and abstract texture to your images. TONES, have only soft effects, but can be very useful for applying a natural lighting effect like a vignette, or adding a touch of color variation to enhance the perception of your image.

Beginner’s bonus! There are two photoshop tutorial documents included in this set.

The first is a layered photoshop file for you to learn the effects of combining border edges to give you a richer or antique/vintage feel to your images as if they were printed in the chemical darkroom. http://makelightreal.com/realistic-border-tutorial/ has more information. The second photoshop document with tutorial layers is a “Through The Viewfinder” (TTV) tutorial. A popular alternative digital process is to shoot through the focusing screen of a Twin Lens Reflex camera. You can duplicate this effect using a layer mask, border and your own normally captured image. The key is how to blur it, and it’s shown in the photoshop layers. Enjoy your new creativity!!

Here are thumbnails of what’s included:

The MacDowell Colony is one of the best perks an artist can get. Tara Geer, a visual artist, went twice to work on her drawings. She also interviewed a MacDowell legend, lunch delivery man Blake Tewksbury.

Listen however to Tara describe the main obstacle she found to getting her own work done……what’s the answer?

And what is the result when she’s dealt with the obstacle at the end of her month?

This is the concept I stress as a core skill for artists, the meditative state - and a Mind Like Water.

Studio 360: Porochista, MacDowell, Blind Boys

John Reuter shows us a basic screen-cast exploring Photoshop documents layer blending options.  As you’re learning to apply textures, or vignettes to an image for artistic or tonal effects - you should understand these options intuitively.  The best way to learn after watching this image would be to work over a couple images and utilize these different techniques to modify different portions of the tonal range.  Work on targeting the highlights, mid-tones and shadows independently as you build up your awareness and control in photoshop.

If you don’t have any files to use to mix together download one from our Free Stuff Category, or try this one.

YouTube - Layer Styles Blending with John Reuter

Great TAO overflows

To the Left To the right

It may be called immense.

By not making itself great,

It can do great things.

I’m grateful for you interest in my work. I was teaching in the UK back in June and joined the BPPA.  I hope my work continues to take me around the world. I’m disappointed to tell you that no filter set will help you achieve a unique look - in fact quite the opposite will occur….I’ve a strong opinion on this, so sorry if I come off well - opinionated!

You can listen to some of my theories from my creative journal, try out: http://makelightreal.com/blue-photoshop-tutorial/ as a start.

You’ll find that my philosophy is to approach each image as a blank canvas, respond to the elements and develop the picture to the highest emotional state I feel possible. Some images receive careful raw conversion for color and contrast, but no more alteration:

Some receive a greater amount of attention, usually to help get at the emotion/effect I’m feeling:

Much of it simply has to do with basic doge and burn, which accomplish with a simple workflow that operates in lab color mode: http://makelightreal.com/one-action-photoshop-workflow-tutorial/ So the premise of my action set is to make the basics of art theory/color theory as close to possible to my fingertips to be able to reach for the tool, and have it as close to my subconscious artistic mind as possible.

The trouble with filters are they encourage you to push a button instead of stretch your inner vision abilities

The goal I reach for in my photoshop workflow actions, is the quickness to achieve the look that resonates with my heart - but also avoid the pitfall of escaping from true artistic resonance.  Let me just type out the inner dialog that might occur when I open an image into my workflow.  First off as I open an image, I’m often distracted from the focal point and emotional resonance by some feature in the photo, most often the response is to doge down (darken that element) - this is one of the biggest reasons I work in L*A*B* as you need to dodge to color.  Removing a distracting element is a negative action, so I will often look next at what needs to come out - or be highlighted - in positive response.  The automated adjustment layers in the ONE Actionset are not the solution, they are a starting point that is at my fingertip to customize.  As I open the layer I seek the specific curve that blends with the rest of the picture and resonates with the artistic vibe in that picture. Or I do one of a number of advanced curve adjustments that do everything from smoothing freckles to polarizing areas of the tonal scale.  This pause is not bad, it’s cause for careful reflection.  The adjustment layers can interact with texture layers, vignette layers, and be re-ordered to refine and define your intended result.  

The goal for the ONE Actionset is to put reflection without distraction at your fingertips.

Tao 46
There is no greater calamity

Than not knowing what is enough.

- Albert Schweitzer 

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