Photoshop and Digital Photography Stuff, DIY Projects, and sometimes Ponderings and Rants.

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Thanks for stopping by. Have you seen my latest book?:) Really, it's quite good.
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An art writer for The Guardian recently published an article that seems to elevate his own bias against a medium to what others should and should not do in the art world.

When articles like this come out, it makes me wonder if the writer is simply looking to stir things up and make a name. I see no compelling discussion, just a repeated statement of opinion. Opinions do matter in the art world, and we give weight to those that come from experience, education, or even just appear to be thoughtful.

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RTK_thm

Wanna hear a story? It’s a story about pixels and portraits and the things that happen to them. The story begins with a set of scripts and an unassuming panel, the kind of panel you might not look twice at if you met it in a pub down in the Gaslamp. Ok, it’s not a very deep story, but if you retouch human subjects, this is going to be of interest to you whether or not you have ever been to the Gaslamp.

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Dancer, sm

Recently, I was asked to present a webinar via Adobe Connect to the Photoshop and Lightroom Facebook group (managed by Andrew Kavanaugh). Since I’ve been tinkering with the Clone Stamp tool (see this post), I decided it was time to bust out a new technique with it, one that replicates a style I’ve seen here and there for a few years but had never previously attempted. The overall effect fascinates me, and I plan to keep exploring the look and approach. Hit ‘more’ to get a link to the webinar which demonstrates the technique and see a larger version of my first attempt with this style.

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Photoshop Proving Ground Header

PSU_Nov2014November’s issue is out! This time around, I show you something a little unusual with the Clone Stamp tool. While most Photoshop users have gotten used to the idea of making image corrections with it, I wanted to use the Clone Stamp in a more artistic way.

Coupled with a Wacom Intuos Pro tablet, I was able to free myself up from the typical constraints of working with masks. While this effect can be achieved with masks, I’ve also layered up the look and wanted a more organic, simple approach. This is largely due to the fact that I wasn’t sure what I wanted from the final image, only that I wanted to explore blending the two pieces together. It turns out that this method is much faster for me then trying to finesse multiple masks.

imageOther ApproachesIt’s worth pointing out that this is very similar in final form to a double exposure approach where one texture image is used as a knockout for another photograph, as can be seen in Howard Pinsky’s awesome video on creating double exposure effects.
What I think is really cool is that similar looks can be achieved in vastly different ways.Lenore (WIP) ‘Lenore (WIP)’ demonstrates using both techniques in combination. I started with a sketch of a raven, which I then saved as an Alpha channel in Photoshop. Loading that channel as a selection, I then proceeded to paint in the portrait using the clone stamp method described in November’s article.

I’d love to see how you use this technique. Hop over to Facebook (my page or PS Proving Ground or KelbyOne) and show off what you come up with!


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