Polarising filters are used by landscape photographers to intensify blue skies, and you can achieve a similar result in image-editing software, though by a slightly different route. To be honest, it’s not really possible to properly duplicate the effects of a polarising filter in sofware because they use an optical phenomenon you can’t reproduce later – polarisers also subdue reflections in water and glossy surfaces. But you can intensify blue skies simply by adjusting that particular colour in the image. It sounds like it might involve complicated selections, but it’s actually a lot simpler than that. Aperture can isolate...Read More
Author: Rod Lawton
Elements does have some limitations compared to Photoshop. One of these is the difference in the Shadows/Highlights tools. So is there a workaround? Yes there is… The Shadow/Highlights tool in Photoshop is designed to even up the tones in high-contrast pictures. It lightens the shadow areas and darkens the highlights by selecting these regions separately (though you don’t see the selections) and providing you with tools to adjust them. This picture’s a good candidate. It’s not an extreme example, but it’s typical of outdoor shots where the sky is bright and the landscape is a little dark. What I’d...Read More
Aperture and Lightroom offer a whole new way of working. They are both powerful image-cataloguing tools and RAW converters which have non-destructive image-editing tools built in. Sometimes you still need other image-editors or plug-ins, but both programs are designed to work with these – most mainstream plug-ins now come in Lightroom and Aperture versions as well as the traditional Photoshop plug-in format. What’s more, both Aperture and Lightroom support ’round-tripping’. This means that you can send an image to your external editor, make your changes, save it and have it appear back in Aperture or Lightroom as a new...Read More
Google’s Color Efex Pro 4 (part of the Nik Collection) doesn’t just apply individual filters – you can also combine, or ‘stack’ filters to create a cumulative effect. I’ve used it here to add a warm, dreamy glow to this minimalist landscape in order to show how this stacking system works. The start shot is pretty uninspiring, but with the right mix of filters it should be possible to turn it into something much more interesting. 01 Adding extra filters I’ve started out by adding a Graduated Filter effect to create a blue sky. The precise settings aren’t important...Read More
Tilt-shift effects depend on two things – an understanding of how the illusion is created and the right kind of subject. The illusion is caused by a defocusing effect before and behind the subject. This is what we’re used to seeing in close-up photography, where the depth of field is limited and only a narrow region of the subject is sharp. When we see this applied to a full-size subject, it makes it look like a table-top model – but only if the subject is right. Actually, this is the tricky part. The tilt-shift effect only works well when...Read More
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Life after Photoshop is dedicated to the wider world of image-editing beyond Photoshop and its technical, image-by-image approach. Here you’ll find tips, tutorials, reviews and ideas for everything from mobile photography to asset management, from one-click effects to professional workflows. Rod Lawton