That's right, let me know what you would like to see as a tutorial. What have you struggled with? A specific tool in Photoshop you can't get the hang of? Looking for an easier way to achieve a certain result? Or do you want me to go back to basics? Let me know right here!
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Thank you for such fantastic overlays, I personally struggle with work flow (Starting Composites & the order of layers).
Very god point and quite a complex thing! Personally I always start with cleaning up the original image, retouch if necessary, make sure it's got an even background, take tings out that I don't want there, that sort of stuff. Then go on to work on the composite background, creating the setting I want the picture to be in, then add in extras, like individual objects, light effects, smoke etc. The order of the layers depends greatly on the method used and if you use blending modes, also on where the layer should be in the finished image (behind the subject or in front). If you actually cut a subject out of an original picture you are likely to place them on top of your background, if you use blending modes and masks the background image is on top of the original subject, which is then masked. I mostly use the latter. Workflow is also different for everybody, all I can always advise is experiment, there's never just one way.
Oh and....very happy you like the overlays 🙂
Could I please ask what you do to seamlessly blend a character/model with a background?
You sure ask the questions with very complex answers. 😁 It starts with the original image, for best results I shoot it myself on a grey background. Then I need to find the right background that suits the subject theme and perspective or I have to adjust a background ,I already have, to fit. Matching the perspective is important to make it look realistic. Then I use blending modes on the background (mostly 'Soft Light' or 'Overlay' and mask out the subject as accurately as possible. Other important bits to adjust and pay attention to is light. See that the light source on the background comes from the same direction as your light on the subject. If it doesn't, you can adjust a lot of it with light effects, either by painting it in or with light overlays (like flares). Pay attention to the shadows, reflections, the colours, use 'dodge and burn' and again blending modes are your friend. Add something behind and in front of the subject to make it look like he/she is really in that scene. And as before....experiment! You might find something that I haven't even thought of yet.😊
Have a look at my 'Money to burn' tutorial...some of what I said is in there.
@Nicole Klein Thank you so much for the detailed explanation, I will give it a go. As soon as I get chance I'll have a have a sit down and have a proper lookat the tutorials. 😁😁😁
@Richard Adams my pleasure, that's what we are here for! And yes, once you had a look, let me know if there are more questions or stuff you would like to see, then I know what the next tutorial could be😊
Interesting to read the Q&A in these forums as they give an insight into Workflow and Methodology. As someone who started using Photoshop from it's inception and then having a hiatus for the last decade it's been invaluable to view your in depth tutorials and learn how to use the new tools. The object selection tool is an absolute God send. After watching your tutorial, I was able to drastically reduce the time taken to cut out and mask my images. Thank you.
I have a question about saving images for printing (inkjet or photo output). Do you have a recommended set of "output" settings to achieve vibrant prints?
I find that even when I calibrate my monitor that sometimes the commercial inkjet prints I order look either too dark or colours are muted. I understand the differences between RGB and CMYK colourspaces, and wouldn't expect reflected light to be as powerful as transmitted light, but would welcome any insight you have into achieving consistent colour prints. Or if you have any preference for particular commercial print houses. Thanks in advance
Hi Andrew, Yes the object selection tool is amazing and the latest update made it even better, I think. So pleased you got something out of the tutorial! Gosh yes, I hear you about prints, it's quite a minefield! As you already said there is the obvious difference between RGB (for web) and CMYK(for print). It certainly helps if you change an image to a CMYK colour profile before having it printed as sometimes it can change the colours rather dramatically.
When it comes to monitor calibration...there's another minefield! I had two monitors, same make, same size, same year, same colour profile and both showed an image differently. I now have a Mac and am pretty happy with it. I used to work as editor and lay-out designer for a magazine some time ago and learned a lot about printing on the fly there. Our go-to profile for printing was CMYK Coated Fogra39, but that was the best to use for the paper and printing type (litho). The output profile can change according to just that, paper (matt, satin, metallic) and printing type (digital, offset, litho etc)....however, there's also the problem that some printing companies 'mess' with the image you send them, unless you tell them not to because they mostly make their money on printing snap shot for people who have never heard of a colour profile. When it comes to having my images printed I use a company called Peak Imaging and so far even their box standard photo prints turn out really well. Just make sure to chose the non-optimised option.
Does that help at all?
Thanks Nicole that was helpful. I also had a "previous life" as a magazine art editor (pre1984, pre Mac) before setting up a design and typesetting studio, my father was a litho printer before he went blind. So I have a knowledge of CMYK conversions and litho printing. (I will investigate CMYK Coated Fogra39 - thanks).
I have been frustrated by colour profiles for inkjet printers (both Epson and Canon). I own a small format Canon dye sublimation printer that produces lovely A6 postcard prints and an ancient Epson A3 inkjet printer which is good for proofing. However, when I send images out for repro I get a mixed bag of results.
I will investigate Peak Imaging services.
If I was to get the two images you edited for me printed for framing, would you use any particular colour profile / paper /printer?
@Andrew Humbley good grief...you know I did not see that last question you asked at all! I am so sorry!! As I know you have already got the images printed, I hope Peak Imaging did a good job on it? They usually do. I even had them contact me before if they thought the colour profile was not okay. I tend to go for satin prints, I know the glossy prints bring out the colour well, but I if they are in a frame with glass on top, they can sometimes start sticking quite badly to the glass...unless you use a mount...aaargh...too many options! 😱