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Tiny Planets

Varina Patel — April 18, 2013

Here’s something fun I’ve been playing with lately. I’ve been fooling around with making tiny planets in Photoshop, and I thought I’d share the steps for making them – along with some basic tips that I learned as I played with the process. I have to admit that I had entirely too much fun with these. :)

Here’s how it works…

Step 1: Choose the Photo you want to use to create your planet. I’d recommend planning for these shots in advance, and taking some nice pano shots with interesting horizons. But, it works just as well to choose existing photos and crop them to your specifications. I chose this shot from Florida because it had a nice, wide horizon, some pretty reflections in the water, and an interesting sky.

This is what I started with.

Step 2: Make sure your horizon is level, and then crop the photo to create a wide panorama.

Here’s my pano crop.

Step 3: Next, we’re going to create a square shape by stretching the image. Choose Image > Image Size, then copy the dimensions for the Width into the Height box and click ok.

Convert your pano to a square.

Here’s what happens to your image – it gets all stretched out. Stay with me here.

It looks weird, but don’t worry.

Step 4: Turn your image upside down. Choose Image > Image Rotation > 180 degrees.

Don’t forget to turn it upside down.

Step 4: Convert your image to 8-bit if it isn’t already. The polar coordinates filter doesn’t work for a 16-bit image. Choose Image > Mode > 8 Bits/Channel.

Step 5: Select Filter > Distort > Polar Coordinates. Select the Rectangular to Polar option, and click ok. And there it is! Your very own little planet! It needs a bit more work, but you are mostly there! If you don’t like the result, go back and tweak your original image. You can choose a different one with a more interesting horizon, or crop it differently for a different finished effect. I’d recommend doing some experimentation to see what happens when you choose a wider or narrower panorama, include more or less sky or foreground, and so on.

How cool is that?

Step 6: Now it’s time for some cleanup. I use the clone tool, the spot healing brush, and the patch tools – along with content aware functionality – to get the look I want. This is where my Wacom Intuos 5 tablet and stylus come in really handy. I’m zooming way in and working with lots of tiny details – and the stylus lets me have all the control I want. (Did I mention I’m a control freak?) ;) Anyway – I try to get rid of the sharp “crease” that happens when the filter does it’s work, and then I go in and make sure my reflections and horizon line are just right.

Cleanup time.

Sometimes, I’ll create a duplicate layer and rotate it to help me achieve the finished look I want. In this case, my horizon wasn’t quite right. I rotated the duplicate layer on top of the original planet, and then used a mask to isolate part of the horizon line for that layer. Then I merged those layers, and continued with the cloning process. I used that little bit of rotated horizon to help me create a cleaner finished look.

Use whatever techniques work best for you for cleanup.

Here’s what the planet looked like when I was done with the cleanup.

Here’s my cleaned up planet.

For the finished image, I added some more clouds to fill in the stretched corners. I also added some wildlife. The birds add interest and also provide a sense of scale. I wanted my planet to feel truly tiny.

What do you think?

Here are a few more examples of what you can create with this fun technique. This glowing planet was created from a burning sunset over Badwater Basin in Death Valley National Park.

And this one is a Faerie World straight out of Iceland!

I’d love to see what you create using this technique! Please share a link in the comments… and feel free to share suggestions for creating great tiny planets as well. Have fun!

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In Tutorials graphics tablet, Photo Tips, photography, PhotoShop, wacom

Peeling Back the Layers

Varina Patel — April 11, 2013

When I took this shot on the Big Island of Hawaii, I knew exactly what I wanted to do with it. Although the colors were rich and beautiful, I wanted to create a black and white version that would show off the soft contrast in the distance, and the repeating curves in the trees. When I want to convert to black and white, I usually start by producing a color image first. I want that full color shot for my archives, and in case someone asks for a color print. So, I started by adjusting the color balance – just as I would for any other photograph – and I go through my entire normal processing workflow. Once the color photo is finished, I save it, and then get back to work making adjustments for a black and white conversion. Here’s the original color photograph for reference. (You can click on any image to see it at larger size.)

Before I get too far ahead of myself, I take a look at the finished color image and think about what I want to accomplish with my conversion. In this case, the image is about patterns and repetition. I wanted to make sure that the repeating patterns in the trees really stood out – so contrast was important. I also wanted to highlight the beautiful softness of the light filtering through the mist. I started by opening the image in Nik’s Silver Effex Pro. I chose on of my favorite filters to start with (024 Full Contrast and Structure), and made a few tweaks to it. I reduced the midtone structure just a bit, and then reduced the highlight tonality protection to make sure I kept the incredible glow on he leaves. Below, you can see what the Nik black and white conversion looked like.

I loved the contrast in the finished conversion, but maybe you notice that the mist seems to have gotten lost. No problem. To bring it back, I needed a second black and white layer – and a mask. I hid my Silver Efex layer (I didn’t delete it), and started again with the original color layer. This time, I used a simple Black and White adjustment layer. I converted the image to black and white again – this time, making sure I maintained the very soft contrast in the misty distance. Here’s what that layer looked like…

Next, I created a mask so that the Black and White adjustment layer would have an effect only where I wanted it. I used my Wacom tablet and stylus to draw a simple selection, and feathered it pretty broadly and created the mask. Then, I zoomed in nice and close and made a few adjustments to the mask with the paintbrush tool to make sure I maintained a very natural look… I didn’t want tree trunks that were close to me to look hazy – just those in the distance. So blending the layers carefully was important. Here’s the black and white adjustment layer with the other layers turned off. You can see that the adjustments I made to this layer will only show up exactly where I wanted them.

Maybe seeing the layers will be helpful, too. You can see that I started with the background layer (the bottom layer), and then created a Silver Efex layer for contrast. Then, I duplicated the background layer and placed it on top of the others. I created a black and white adjustment layer, and then added a mask to the background copy layer. The finished image is the one at the top of this post.

So – what do you think? Do you think the finished image looks natural, and do you prefer the color image or the black and white conversion?

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In Tutorials black and white, color, Layers, Masks, PhotoShop, processing

Photography Workflow: The Portal

Jay Patel — April 8, 2013

I love to shoot Glen Canyon Recreational area around Paige Arizona, but this is a challenging place to get a good composition. To create an interesting composition for this shot, I used a small puddle of water to catch the reflection in the sky. As you can imagine, this was not an easy shot to process.

Field Work: As soon as I looked at the histogram on the back of the camera for the test image, I knew that I needed to bracket the shot. The question was, how much bracketing was necessary? For this photograph, I took a series of three bracketed test shots – then adjusted the bracketing amount based on the histogram for each of the three exposures. My objective was to capture enough details in the highlights and shadows to be able to successful blend the exposures in Photoshop.

Exposure: +1.3 eV
Exposure: 0 eV
Exposure: -1.3 eV

Processing: I started by processing the the RAW files, and blending them using our iHDR manual blending workflow. Then, I processed the +1.3 EV RAW file a second time to bring out the details in the reflections on the puddle of water. I created an additional blending layer for the “portal” using the mask shown below.

Paige, Glen Canyon Recreational Area, Arizona (AZ), USA

+1.3 eV Processed for Reflection

Mask for Reflection

The mask allowed me to make adjustments only to the reflected surface, leaving the rest of the image unaffected. I adjusted the edges of the mask to create a smooth blend between the textures of the rock and the puddle.

My final task was to make minor targeted adjustment for the image. I used my Wacom Intuos 5 tablet and stylus to adjust the overall contrast, and to make small corrections to the sky and the portal as seen in the image below.

Final Photoshop Layers & Mask

How do you blend images? Do you use a special tone mapping program like Photomatix or HDR EFex Pro? Do you do it manually like we do? Or do you rely on a combination of both these techniques?

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In Tutorials PhotoShop, photoshop layers, Photoshop Mask, Photoshop Tips

You’ll have to get the Black Belt on your own.

Varina Patel — March 14, 2013

As many of you know, my oldest son received his black belt in Jujitsu this January. I wanted to capture a few photographs of the testing process to share with family and friends, so I brought my camera along. Here are a few tips for shooting in similar conditions.

1. Capturing photos of people doing sports requires a fast shutter speed to freeze the motion. That’s easy enough on a bright sunny day – but indoors, it can be difficult to get a really fast shutter speed. I used my Canon 5D MIII, which handles noise very well, and bumped up my ISO to 5000. With an aperture of f/4.5, I could use a shutter speed of 1/400 of a second. That was enough to capture the quick martial arts moves. I cleaned up the noise a bit with the luminosity slider in Photoshop.

2. I used AI Servo mode to ensure that my focus was spot on even as my son moved around. AI Servo is Canon’s predictive autofocusing system. I hold the shutter release halfway down, and follow my son’s face with the active focusing point through my viewfinder. The focus adjusts automatically to his movements. It’s not always perfect, but it works very well for something like this.

3. My Canon 5D MkIII allows me to shoot 6 frames per second max. I often use the high speed continuous shooting mode when I’m photographing the kids playing sports. For action shots, I often take three or four shots in quick succession. Then, I choose the best of the set, and delete the others. I use this mode when I know it will be difficult to release the shutter at just the right moment. I don’t recommend shooting constantly. Instead, choose your moment carefully, and take just a few shots. That way, you don’t fill up your memory cards with junk shots, and your camera doesn’t get hung up trying to process a series of images. Use high speed continuous shooting mode sparingly.

Congratulation to Nick. We are incredibly proud of him and his accomplishments.

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In Quick Tips aperture, ISO, photography, PhotoShop, shutter speed

Light and Layers

Varina Patel — February 28, 2013

Akaka falls is located just North of Hilo on the Big Island of Hawai’i. It’s a gorgeous location and well worth the short hike… plus a couple bucks to park and use the trails. When we arrived at the falls, it was bright and sunny. The ferns were brightly lit, but the base of the falls and the left wall of the canyon were in deep shade. But I’d been watching the sky all morning, and I knew that we had enough big clouds in the sky to make the photo work. I set up my camera and tripod (we were testing Induro’s awesome CT113′s that week), and waited until a cloud blocked the direct light from the sun. Then, in that softly filtered light, I took my shot. But I still needed to bracket because the shadows were much deeper down in the valley – and the water was very bright. I took a second shot to expose correctly for the dark shadows, and a third to expose for the bright water.

Once I got home, I opened up my files and got to work. You can see the layers I used in the screen shot above. I stacked my images, and used my Intuos graphics tablet and stylus to draw simple selections. I also made slight curves adjustments to ensure that the layers looked natural together. My goal was to ensure that the scene felt natural, and that details were visible in dark and light areas alike.

A Few Simple Tips:

Photograph waterfalls on cloudy days, or wait for a cloud to pass over the sun. Soft light is great for waterfall shots.
Check to make sure you’ve captured the details you want in both the highlights areas and the shadows. You may need to bracket to get all the detail you want.
Use a tripod when you shoot. Our Induro’s come with us wherever we go. We often use long shutter speeds when we shoot waterfalls. I used a 0.5 second shutter speed to get the soft blur I wanted for the water in this shot.

What other tips can you share for shooting Waterfalls?

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In Quick Tips how to, Layers, Light, Masks, nature, patel, Photo Tips, photography, PhotoShop, tips, tripod, wacom, waterfalls

LOOK Before you Shoot.

Varina Patel — February 14, 2013

I know. That seems obvious. As a pro, you’d think I’d know better. And yet here I stand… guilty of not looking closely before I took this macro shot on the big island of Hawai’i.

I was in a hurry to get the shot, and I didn’t do what I am always telling my students to do. Just take a moment to look closely! The result? Lots of cloning work in Photoshop that could have been avoided. A few quick strokes with a small brush would have removed all the dust from this little seed pod. Here’s what it looked like before I cloned out the dirt.

Luckily, it didn’t take me long to do the cleanup. I used Photoshop’s Patch and Spot Healing Brush tools to eliminate bits of dust and dirt very quickly. My stylus and Wacom Intuos5 tablet gives me precise control as I’m working, which is invaluable for this kind of correction. I zoom in so that I can see the dirt clearly, and then I can tackle those little nasties one at a time.

It would have been a lot quicker to take care of this in the field. Next time, I’ll remember.

My wise brother says, “It’s good to learn from your mistakes, but even better to learn from the mistakes of others.” Will you learn from mine, and remember to look before you shoot? :)

In Quick Tips graphics tablet, patel, Photo Tips, photography, PhotoShop, tips, wacom

Grand Tetons National Park, Wyoming (WY), USA

Before and After: Grand Tetons

Jay Patel — February 13, 2013

This was the view outside our tent when we went camping deep in the Grand Tetons.

Composition: I wanted to capture the late evening light and the foreground flowers. So, I set up the camera very low to the ground to fill the frame with the flowers in the foreground. This also required me to focus using the hyper focal distance principles to get everything sharply in focus.

Field Work: Because the terrain was uneven, I could not use a GND filter. A GND filter would have darkened the top of the mountains. Instead I carefully selected the exposure using the histogram on the back of the camera so that the entire dynamic range of the shot was captured in one single image.

Processing: I processed a single image 3 times and blended them manually to bring out the details in every part of the image. The layers used in the processing are shown in the image above. I used a Wacom Tablet to draw precise selections I needed for creating masks on the adjustment and blending layers. Here is what the photo looked like before editing.

Mountains and sky are overexposed. Flowers show loss of detail. Shadows are Flat.

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In Tutorials PhotoShop, Photoshop How To, Photoshop Mask

How to Choose the Right White Balance

Varina Patel — February 11, 2013

I’ve said it before and I’ll say it again – color balance is critically important. No matter how carefully I compose my shot in-camera, I will always – ALWAYS – check my color settings during post processing. I recommend that you do the same. Even if you set your white balance in-camera. Even if you don’t make any other adjustments. Here’s why…

Your camera can’t see a darned thing. Really. It’s completely blind. It makes color choices based upon mathematical algorithms. And no matter how good those algorithms are… no matter how advanced the equations gets… it’s still using math. It can’t see what you can see with your eyes. So take a few seconds to get your colors right. A simple adjustment can make a big difference.

The first step is the simplest – but many people skip it. While you are shooting, take your eye away from the viewfinder and look around you. Take a moment to look carefully at the colors that are really there. Is the light from the setting sun changing the color of the landscape? Is light reflecting off brilliantly colored clouds and causing a color cast on the ground around you? At first, most of us have a hard time seeing those slight changes, but over time, you can develop your vision so that you notice the colors changing around you.

Try this simple exercise… next time you are out driving just before sunset, wait until the sun is directly over one of your shoulders. Either on your right, or on your left. Then, look at the trees, buildings, or other objects on the sides of the road. When the sun is low in the sky, you’ll notice that the objects on one side of the road are painted with light. The objects on the other side will be in shadow. Can you see the golden or magenta color cast?

This is a great comparison for those who haven’t noticed the effect before. When I point this out to new students, they are almost always surprised by it. It’s something they haven’t noticed before. Once you start to notice changing light, see if you can see the color cast that appears on the ground under a brilliant sunset. Look for the glowing golden colors that appear in a forest in the spring… especially on a wet and overcast day. Soon, you’ll be seeing subtle color changes everywhere you go.

Ok – so now that you’ve seen the colors… now that you are really noticing them, open up your file in your RAW converter, and make the necessary adjustments. Start with the default setting based upon the conditions as they were when you took the shot. Was it cloudy? Choose a cloudy setting. But don’t stop there. Look at the image. Does the color balance look just right to you? Shift the temperature slider back and forth just a little and watch what happens to your image. Pay attention to subtle color casts that appear as you adjust the slider. You need to decide if those casts are what you want for your image.

Of course, color balance is a personal artistic choice. You can choose a realistic color balance, or you can choose something “artsy”. Do you want a moody look? A warm and inviting feel to your image? It’s up to you! Experiment with it. Remember, I have only one hard and fast rule for art… If you aren’t enjoying it, you are doing it wrong.

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In Tutorials color balance, patel, Photo Tips, photography, photography tips, PhotoShop, white balance

Q and A – Do I like my Graphics Tablet?

Varina Patel — January 22, 2013

When people see me working, they invariably ask if I like my Wacom Graphics Tablet. The answer is HECK, YES! I absolutely love my tablet.

I’ve been using Intuos tablets since 2004. So, you can imagine the smile on my face when Wacom contacted us recently and invited us to join them in creating content for their Insivity.com website. They sent each of us a shiny, new Intuos5 – which is doing it’s job very nicely right now.

My Wacom tablet and stylus give me incredible control in Photoshop. I can make fine adjustments with great precision. Have you ever tried to draw a complicated selection with the mouse? Even making a smooth circle is difficult with such a clunky tool. With the stylus, I can draw that selection… and just about anything else… with ease.

The Wacom tablet is pressure sensitive. So I can change the weight or the brush size just by changing the pressure on my tablet. It works the way you’d use a pencil or a paint brush, so it’s intuitive and easy to get used to. I can get incredibly smooth lines, and perfect accuracy.

Learning to use a tablet isn’t as difficult as you think. You’ll need to learn how to click and drag, left and right click, and select… but that’s all pretty straightforward once you know how to do it. Getting used to it can be a little awkward – but in a day or two, you’ll find yourself wondering why you didn’t switch to a tablet sooner. There are tons of tutorials available online too – on the Wacom site, on Insivity.com, and on YouTube.

I guess the thing to understand is that you can do anything with a stylus that you could do with a mouse – and SO much more.

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In Q and A graphics tablet, patel, photography, PhotoShop, wacom

Making Targeted Adjustments with Masks

Varina Patel — January 10, 2013

I use masks in Photoshop all the time. Take a look at the layers and masks I used to process this photograph from Valley of Fire State Park in Nevada. You can see that I used a mask on all but my background layer.

I targeted my adjustments with masks on several layers.

Here are the images I started with. These are actually a single exposure processed twice – once for the foreground, and once for the sky.

I processed this image for the foreground.

I processed this image for the sky.

In this case, the line between the sky and the foreground was well defined. I used the color selection tool to select the brighter areas in the sky in the lighter image, and then created a mask from that selection on the darker layer. The mask allows us to see the sky from the top layer, and the foreground from the lower layer. After creating that simple mask, I zoomed in and checked it for accuracy. I needed to subtract some areas of the foreground from the mask, and add some areas in the sky for a cleaner mask. I blurred the mask very slightly to smooth the transition between sky and foreground, and used the precision mode on my Intuos 5 tablet from Wacom to take care of a few small areas that didn’t blend perfectly.

I used this mask to blend the foreground and sky images.

I used a much simpler mask to bring down the brightness of the sky with a curves adjustment layer. Does this mask remind you of a graduated neutral density filter? The effect is the same.

For this mask, I used the rectangular marquee tool and a large feather.

I also felt that the white areas in the foreground were getting a bit lost. I brightened them up a bit with a curves adjustment layer and a mask created from the color selection tool. I feathered my selection very slightly – by about 1 pixel.

I used a very slight feather kept it precise.

When I make adjustments to an image, I often want to target those a adjustments to a specific area or color range. Masks let me be very precise with my adjustments.

There are infinite ways to use masks in Photoshop. You are limited only by your own imagination. These are just a very few tips for making your workflow easier. Please feel free to add your own tips and suggestions in the comments.

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In Quick Tips graphics tablet, Layers, patel, Photo Tips, photography, Photos, PhotoShop, tips, wacom

Archives For PhotoShop

Tiny Planets

Peeling Back the Layers

Photography Workflow: The Portal

You’ll have to get the Black Belt on your own.

Light and Layers

LOOK Before you Shoot.

Before and After: Grand Tetons

How to Choose the Right White Balance

Q and A – Do I like my Graphics Tablet?

Making Targeted Adjustments with Masks

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