1. ©2002 John G. Hendron | jhendron@glnd.k12.va.us Photographic Treatments with Adobe Photoshop John Hendron Goochland County Public Schools

2. ©2002 John G. Hendron | jhendron@glnd.k12.va.us Why Treatments? It’s been done to Photographs for about as long as photography has existed Enhance the creative potential of the image It’s now easy and inexpensive to do Preps the image as a design element for print, web, or video Can create a sense of style for a project when applied consistently

3. ©2002 John G. Hendron | jhendron@glnd.k12.va.us Step One Begin with a digital image in RGB color space with a resolution that matches the requirements for your final output –flatbed scan –drum scan –negative scan –digital picture –PhotoCD and Stock Art

4. ©2002 John G. Hendron | jhendron@glnd.k12.va.us Treatments Conversion to Grayscale Toning Layering and Sandwiching Duo-, Tri- and Quad-Tone Solarization Vignettes TV Scan Lines Handcoloring Lithographic Posterization Focus and Blur Soft Glow (the Barbara Walters effect)

5. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 1. Conversion to Grayscale Open your three- channel (RGB) color photograph in Photoshop We will use the Channel Mixer to convert the photograph to black and white

6. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 1. Conversion to Grayscale Do not use “Mode > Grayscale”, bad contrast almost always is a symptom of this technique Click on the ‘Monochrome’ option Select percentages of red, blue, and green

7. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 1. Conversion to Grayscale Try and get the channels to equal 100 Red and Blue many times may contain “noise” favoring a higher percentage in the Green channel Leave Preview checked so you can monitor your changes

8. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 1. Conversion to Grayscale Several of the following treatments will begin with this basic treatment: a high contrast, black and white photograph Save your B/W photograph as a separate file in PSD or TIFF format.

9. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 2. Toning Toning is the act of giving the cast of a particular hue across the photograph The most popular example of toning is sepia tone For a more creative approach, other tones may be used for a modern twist on a old-fashioned technique

10. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 2. Toning Open your image (converted to grayscale, but still in RGB mode) Open the Hue/Saturation control panel under Adjustments

11. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 2. Toning Check both the Preview and Colorize options Move the Saturation and Hue Sliders to tone your image Click OK when your desired result has been achieved

12. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 2. Toning

13. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 3. Layering / Sandwiching Photoshop’s real hallmark is its ability to work with layers Really an old fashioned technique, this mimics exposing two negatives on paper With Photoshop’s layering modes, you can depart from the traditional method and create more complex results

14. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 3. Layering / Sandwiching Start with your original photograph (color) and a second photograph, imported as a second layer At first, the second photo on Layer 1 will completely mask your first photo

15. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 3. Layering / Sandwiching Next, change the opacity of the top layer Notice in this example, I’ve changed the Blending Mode for the Layer Experiment. Masking and Gradient masking can also be used to combine two or more images

16. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 3. Layering / Sandwiching Here, masking was used to only have a portion of the top layer show-through. Try combining disparate subjects, or very alike subjects depending upon your project

17. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 4. Duotone This technique has roots in printing, but when converted back to RGB mode, still makes for a great effect. Duotone uses two ink colors to create a continuous-tone image

18. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 4. Duotone Start in Grayscale Mode (after using the first technique) and select Duotone Mode. You can choose between monotone, duotone, tritone, and quadtone. We’ll use Duotone here.

19. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 4. Duotone From here you can also adjust how the two colors behave with curves, and which two colors you’d like to combine. Traditionally, black is your first (darker) color, but any two can be used.

20. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 4. Duotone When you’ve completed the duo-, tri-, or quad-tone you like, convert the mode back to RGB for use on the web. At high resolutions, Duotone-class images can be separated for use on a press and actually printed with those two spot colors. Try enhancing brightness and contrast once in RGB mode

21. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 5. Solarization Solarization was born out of a process of exposing half-treated photo paper to light The underlying image was changed due to this chemical process This technique is also called the Sabbatier Effect and traditionally is done with black and white images It can also be done with color images from within Photoshop

22. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 5. Solarization Under Filters > Stylize, try the Solarize filter You may wish to fade the filter back depending upon the contrast of your initial image For further effect, you may wish to tone the solarized result for color addition This example was done in Grayscale mode

23. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 5. Solarization In this example, a color original was used, and the effect faded with a different blending mode Effective treatment for objects and landscapes; avoid for people

24. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 6. Vignette There are two types of vignette: –low key –high key Low key darkens the area around a subject High key lightens the area around a subject

25. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 6. Vignette Start with your photograph in either RGB or Grayscale Mode Create an elliptical selection around your subject, and feather the selection Invert the Selection (Shift-Command-I) Use Levels and/or Brightness/Contrast to darken the background area This is a low-key vignette

26. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 6. Vignette Vignettes can also fade to complete black or white—in this instance, before you invert the selection, copy the subject in the oval selection Paste it over a new document with a black or white background A high-key vignette fades to white, or a bright color This is an alternative used when you have a light background. An example is on the next slide…

27. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 6. Vignette

28. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 7. TV Scan Lines Simulate the “look” of images seen on a TV screen with horizontal lines that grace a photograph It starts with the creation of a pattern…

29. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 7. TV Scan Lines Create single, double, or triple thick lines on a small (4-6 pixel high) document over transparency Leave a transparent row of pixels; the others are colored medium- gray Define the entire document as a pattern

30. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 7. TV Scan Lines

31. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 7. TV Scan Lines Open a photograph, RGB mode Create a new layer, and fill with your pattern of lines Adjust the blending mode to overlay or screen, and adjust opacity

32. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 7. TV Scan Lines

33. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 8. Handcoloring The earliest color photographs were painted: black and white prints were painted to add color In recent years, this technique has proven to be of interest It’s easy to do in Photoshop

34. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 8. Handcoloring Tips for hand coloring: –use a different layer for each section you paint –for the layers you create for painting color, use the COLOR blending mode –use a feathered- edge brush to paint on color –modify the opacity of the layer to reduce or control saturation –use black to “erase” any mistakes you make using the color –the color won’t cover extremely bright areas, such as white

35. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 8. Handcoloring Begin in RGB color mode with a photograph that’s been coverted to gray tones (Treatment 1) Be careful with people-- hints of colors are most effective Using bold, saturated colors lends a different, but interesting look

36. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 9. Posterize This technique came about from the use of lithographic films and processes This technique is often used with large format prints, or posters It reduces the number of “inks” or “shades” that can be used in the print It’s an effective way to add interest to a photograph

37. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 9. Posterize The Quick RGB Way: –Image > Adjustments > Posterize –Choose the number of levels you want –Try changing levels, curves, or make adjustments in the channel mixer after this process

38. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 9. Posterize Another method involves Treatment 1 Next, decrease contrast through Brightness/Contrast Posterize to 8-11 levels Add color (Treatment 2)

39. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 10. Focus and Blur Focus and Blur is a technique that simulates an advanced treatment that is traditionally done with lenses on a camera It isolates areas of a photograph that are in focus, and other areas which become blurry First: Isolate the area you’d like to blur, or move

40. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 10. Focus and Blur I used the magnetic pen tool to isolate a head. Next, turn the path into a selection Feather the selection (Select > Feather) Copy the selection and duplicate it on 3-4 layers

41. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 10. Focus and Blur Next, apply different levels of blur to the individual head layers Change the opacity of the layers as well Finally, rotate & resize (Free Transform) different “versions” of the head to mimic movement

42. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 10. Focus and Blur You can also leave portions of a picture “in focus”’ while you blur the background Use selection techniques appropriate to the picture (such as a gradient mask) and apply Gaussian Blur For this selection, a radial gradient was applied in QuickMask mode. Exiting QuickMask will make our selection.

43. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 10. Focus and Blur Once the selection is made, you can apply any number of effects or filters to the selected (background) region. We will use a blur, and later desaturate the background to heighten the effect

44. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 10. Focus and Blur The finished project: –focus is made upon the subject at the computer –the farther away from the subject, the more blur was applied due to the gradient mask –color is intensified too at the subject’s location

45. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 11. Barbara Walters I call this last effect “Barbara Walters” because this technique—the use of a soft focus lens filter—is always used on her famous television interviews.

46. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 11. Soft Focus Soft Focus is achieved by duplicating the image onto a second layer. Gaussian blur the top layer and reduce opacity Sharpen the original layer underneath

47. ©2002 John G. Hendron | jhendron@glnd.k12.va.us 11. Soft Focus

48. ©2002 John G. Hendron | jhendron@glnd.k12.va.us Photographic Techniques This is just the beginning! The history of photography is rich, and new digital tools open up new possibilities. Use these techniques as a starting point, or as the beginning of your own creative process. Some sites on photography of interest: –http://www.rleggat.com/p hotohistory/http://www.rleggat.com/p hotohistory/ –http://www.urtonart.com/ history/photography.htmhttp://www.urtonart.com/ history/photography.htm –http://www.niepce.com/h ome-us.htmlhttp://www.niepce.com/h ome-us.html –http://www.photo.net/hist ory/timelinehttp://www.photo.net/hist ory/timeline