When I shot this dahlia last summer, my main focus was to bring out the brushed lavender on the petals.
When I looked at the enlarged version on my computer screen, I noticed the central disk was a bit blurry.
This made the image perfect to try out InFocus by Topaz Labs.
When you look at a full size print, every detail is important.
Click on thumbnail to see full image.
The brushwork for the Colorcade Lilac is finished.
I am now in the proofing phase so prints are not available yet.
I’ve learned a great deal during this project, and you might notice the difference in my work.
I rely less on filters and more on brushes.
Take a look and see why I love these plants. Colorcade Lilac
N.B: Take note that the pixelation is from the watermark at the lowest setting.
Next time I’ll fade it.
When people visit my home and see the Sprekelia on canvas for the first time, they move closer to see the finer details.
When I visit a gallery, I look at the artwork at the appropriate distance then I move closer.
I’ve noticed many other visitors do the same thing.
Now I will offer you that view.
This thumbnail is a preview of the Colorcade Lilac I am working on.
Yesterday, I found a very interesting tutorial about using the Photoshop Mixer brush.
It was written by Armand Niculescu, and his site is called Twin-Pixel.com
In addition, he explains how he uses the Emboss filter.
The images included are also a big help.
Before starting my present project, I only used half of the Photoshop tools.
All of my work was created the exact same way.
Now I practice what I learned in tutorials and rediscovered Photoshop.
With so many choices, how do we choose the right paper?
Before I spend money, I download the ICC profiles for each paper I’m considering.
In Photoshop, I click, View>Gamut Warning.
In the same tab, I then click View>Proof Setup>Custom.
This brings up the Customize Proof Condition window.
In the Device to Simulate box, I select an ICC profile.
If the image shows out of gamut pixel, I try another ICC profile or make some adjustments to the image.
When the time comes to print the image, I make sure the printer is set up properly.
The black ink must match the paper, and the right media has to be selected.
This helps me avoid wasting paper and ink.
Fine Art Printing for Photographers: Exhibition Quality Prints with Inkjet Printers
I just downloaded and tested WG Watercolor Brushes Vol 1 in Photoshop 5 and I love them.
They are the creative work of Sebastiano Guerriero, graphic designer in Italie.
I will be testing more brushes.
Working with the right tools makes it so much better.
I’ve been using Corel Painter now for over two years.
I also use Photoshop brushes daily.
Both have advantages and disadvantages.
I often use both on the same project.
Some artists prefer to use just one or the other.
I let the individual projects guide me, usually.
As an experiment, I’m trying to complete a work entirely in Photoshop.
I keep reaching for tools found only in Painter.
The same thing happens when I try to work only with Painter.
So do I prefer one over the other.
Honestly. No.
This morning I decided to do all the brushwork of my latest project in Photoshop.
I shoot in raw mode to capture the most colour.
I print my work on the finest paper with Epson Ultra Chrome K3 ink Vivid Magenta.
So downsizing the starting images from 16 to 8 bits always feels like a step backward.
If I could add one tool in Photoshop, it would be a blender brush.
A new link is now the Further Reading list on the right of the home page.
Photoshop Masking & Compositing is an article written by Katrin Eismann.
I found the article very helpful and will refer to it often.
