Mark S. Johnson Photography

Photoshop Workbench 220: Spirographic Splendor

Alex Miles Younger — Thu, 11 Mar 2010 06:00:01 +0000

Before I choose subject matter for a Workbench, it must meet three criteria:
First, I have to be excited about what I’m teaching. Second, I try to choose subject matter that engages the viewer. And third, it must contain fresh techniques. If I’m really lucky, the subject matter sometimes meets a fourth criteria––it inspires creative thinking. When a Workbench meets all of these criteria, I feel satisfied.

As I was considering topics for today’s Workbench, I decided to explore a subject that is a bit outside my normal realm––creating spirographs. I felt uncertain going into the process, but once I started playing with images, I was blown away by the possibilities. Today’s topic definitely meets my fourth criteria––the more I explored, the more I couldn’t wait to see what shapes and patterns each spirograph would form.

In order to create a successful spirograph, it’s wise to begin with an image of something graphic in nature that can easily be selected. For starters, consider using smoke photographed over a black background, ink photographed in water with a white background, or tree branches silhouetted against a bright sky. Once you become comfortable with the process, the sky’s the limit. If you don’t have images of these subjects, pay a visit to a site such as CGTextures.com or iStockPhoto.com.

Before I begin, I’d like to say thank you to Corey Barker of NAPP for inspiring today’s Workbench.

Photoshop Workbench 219: Combining Multiple HDR Images to Avoid Haloes and Noise

Mark Johnson — Thu, 04 Mar 2010 06:00:23 +0000

I love the gritty, textured feeling of HDR images, but it’s all too easy to take the look a little too far. Clouds and horizons with giant haloes cheapen the look, and noise in areas where you don’t want it is never desirable. In today’s Workbench, I’ll show you how to combine images that have been tonemapped with different settings to achieve a pleasing overall look. I’ll also show you how selective sharpening can really make an HDR pop from the page. If you’re interested in purchasing Photomatix Pro HDR software, be sure to enter the code “MSJPhoto” to receive a 15% discount. Click here to purchase Photomatix Pro.

Photoshop Workbench 218: Creating A Four-Panel Collage

Alex Miles Younger — Thu, 25 Feb 2010 06:00:19 +0000

Sometimes you find inspiration in the most unlikely places. I was shopping for groceries the other day and I spotted a poster displaying four images and one word that communicated the store’s fundamental philosophy. The simple design and message were beautiful enough to convince me to make them today’s topic. As we build this collage, we’ll get the opportunity to work with smart objects and type in ways that are both unique and highly efficient.

Photoshop Workbench 217: Creating a Found Object Composite

Mark Johnson — Thu, 18 Feb 2010 06:00:03 +0000

Each time I see a well done found object composite, my heart does a little somersault. I define found objects as any objects, such as leaves or butterflies, or textures, such as rust or peeling paint, that you decide to add to your photographic collection for the sake of compositing.

Combining these objects and textures in creative ways can be immensely gratifying––but make no mistake, this is a creative process. Today’s Workbench is as much about creative process and it is about learning techniques. On our journey, we’ll encounter a variety of useful Photoshop techniques, including refining an edge, using the History brush, adding a drop shadow, working with blending modes, and test-driving color options via a clipped Hue/Saturation adjustment layer.

Photoshop Workbench 216: Simple (Yet Effective) Portrait Blending Technique

Mark Johnson — Thu, 11 Feb 2010 06:00:19 +0000

If you’re seeking a fresh way to present portraits, this simple, yet striking approach may interest you. Begin by capturing two images of the same subject in front of a uniformly colored background with consistent lighting. If you don’t have access to a studio, photograph the subject in front of an uncluttered background that has potential for seamless blending. Capture one image as a full (or almost full) body shot and the other as a close up (head-and-shoulders).