3-D is the biggest craze in Hollywood at the moment. Avatar, Toy Story 3, A Christmas Carol and even Nanny McPhee have gone (or are going) 3-D this year. So how can we harness this concept in our photography?

The most basic principal of three-dimensional art is a foreground/subject which stands out from the background in such a way that you can actually feel the space between them. Obviously, a picture is flat. But if you can edit it in a way to create that space, you can make the effect on it’s viewer memorable. The concept translates into the editing process simply: edit the subject and the background entirely independently of each other. The way in which I feel most successfully achieves that is to make a darker, richer background and a lighter subject.

1.} Choose an image carefully. Not just any image will do. Try to find one which already has a sense of space between the foreground and background. Some far off background action would be great. I chose one where the subjects were almost fully shown (not just their upper halves).

2.} I duplicated the image for safe measure. As I usually do for step 1 of my editing process, I separate the foreground from the background by using the quick selection tool  and typing ctrl+j to create a new layer. First, though, I feather the selection out in select > feather > 0.5 px.

3. } Start editing the background. I usually first duplicate the layer, use overlay or soft light blending mode and take it down to at least 50%. When it’s the way I want it, I then merge the background layers back into one and separate the sky from the rest of the photo so I can edit them separately.

4. To the grass, I applied Flypaper’s ‘Muscatel’ texture layer at hard light, 49%. I also used ‘algae’ at overlay 100% (before you run off to buy these wickedly ingenious textures, read to the bottom for a discount code!) Check out this before/after of the grass:

5.} For the sky, I opened an image from my skies folder (I keep a folder with impressive skies to use as replacements) and laid that over the background sky. I then used Flypaper’s ‘Marie Antoinette’ @ multiply 9%, ‘ming’ @ overlay 35%, ‘lavender skies’ @ multiply 35% and ‘algae’ @ overlay 16% and here it is after:

6.} Here’s the wow factor step. I used the ‘Colosseum Sienna’ and placed it over the top layer in the layers palette. I then type ctrl+g to clip it in so that it is glued onto the boys like this:

7.} Then hold onto your seats as you change it to overlay 100% because immediately, the boys pop out of the picture and into my office (ok I’m not that important…I’m writing this in bed). I wish I had a way to show you in mouse-over because they almost literally pop off the image.

8.} ‘Colusseum Sienna’ is a cracked texture and quite orangey on their skin, so I added a maximum gaussian blur and took down the saturation a notch.

Its time for another round of Lightroom Q&A’s. Keep the questions coming.

Q. When I export images sometimes I choose to export to a custom size (640 x 480) for web viewing. The problem is that the images that were shot using a vertical orientation are exported as 360 x 480 instead of 480 x 640. Is there a way to export a ‘mixed’ group of photos to a custom size yet retain the original aspect ratio?

A. That’s because by setting 640 x 480, you’ve essentially set a max size for the height of the image at 480. So it couldn’t do 480×640 because that would be going against what you’ve set as a max height. So if you want 640 to be the max width and 640 to be the max height, then set both width and height to 640. Lightroom won’t give you square images (640×640) but rather use 640 as a max setting for each side.

Q. Do I have to leave the Develop preset file on my desktop after I import it? Or is it saved in another location?

A. I gotta admit, I’m surprised this questions hasn’t been asked before. I always point people to downloading the presets to their desktop and then importing them from there. So do they live on the desktop then? It does, after all, make a little sense that they would but they don’t. When you import them into Lightroom they actually get copied to Lightroom’s preset folder. So its safe to delete them from your desktop.

Q. Are you going to do a bootcamp for the Lightroom ACE Exams at KelbyTraining.com?

A. Probably not. There haven’t been many of requests for it. But hey, things can change.

Q. This one came from a post about the Lightroom 2 Exam Aid, the other week. “If I’ve gone through the Lightroom classes on Kelby Training and have read Kelby’s Lightroom 2 book… would the Exam Aid still be a benefit or would it be fairly redundant”?

A. Here’s the thing about Adobe ACE Exams (I’ve taken many so I can fairly say this). They tend to test you on what they WANT you to know about a product, rather than what you know about a product. Now I’m not bashing the tests. They have to be complete. You need to know your stuff, but as authors (of books and DVDs) we don’t have to be complete. We feel our job is to try to distill Lightroom down into what we think you need to know. Otherwise, we’d create a reference book which we don’t. So going through some one’s book or DVD means you’ve learned their workflow and what they use – but not everything. That’s where you’ve got to download the free exam bulletin from Adobe and at least look through it. If at that point you feel you need more help, then I’d turn to the exam aid.

Bookmark It

Yesterday, I posted a poll asking “How Well Do You Know Your Curves?” and I’m seeing a slightly skewed response toward the “less experienced” side of things. That’s totally cool, and I’m glad so many of you chimed in to let me know!

As I gear up to post my next article on “processing via histograms” I’m coming to the conclusion that I should put up a bit of background info on the curve adjustment tool. This tool is deserving of a book just because of the flexibility and complexity that it encompasses… but I’m not going to write a book on this stuff. Instead, I’ve put together a few thoughts and screenshots followed by links to articles far more comprehensive than my own.

So let’s get started with curve adjustments, tones, ranges, slopes, color channels, and all the other associated fun stuff.

Keep in mind that this post is somewhat of a teaser intended to get you thinking about the topic at hand. Read it through, check out the images, and follow the links at the end. I’m hoping that you’ll have a better grasp of the curves tool by the time you’re finished.

WAIT… WHAT’S A CURVE?

If you’ve worked in Photoshop, The Gimp, Lightroom, Adobe Camera Raw, and many other pieces of photo editing software, you may have already used curves or at least seen them. It’s that box with a diagonal line through it, and you can usually manipulate that straight line into a curve through various methods.

A curve adjustment is a simple input-output tool that changes the tonal value of pixels by stretching or compressing portions of the histogram. So let’s say that you want all pixels with the tonal value of 190 to change to 200 (making the light tones lighter). The curve tool does this for you, but it also moves nearby tonal values to maintain a smooth appearance in the image.

Essentially, you need to know that as you move the curve down and to the right, tones will darken from their current values. Move the curve up and to the left, tones will lighten from their current values. A curve can have many bends and inflection points, so it is possible to apply different adjustments to different sections of the histogram.

THE INPUT/OUTPUT RELATIONSHIP

As I mentioned above, you can use the curve adjustment to designate tone transformations across the entire tonal range. If you want one section of tones to become brighter, you move the curve in one direction for that local area. If you want one section of tones to become darker, you move the curve in the other direction for that local area.

A side effect of curve adjustments is the increase and decrease of contrast for different tonal ranges in the image. The slope (or how steep the curve looks from left to right) determines how much contrast adjustment will be applied to that local area. A steep slope (closer to vertical than horizontal) will give you a higher contrast. A shallow slope (closer to horizontal than vertical) will give you a lower contrast. The interesting thing about the curve adjustment is that slopes changes will alway negate each other. So if you increase the slope in the midtones (thus increasing the contrast) with a traditional s-curve, you also decrease the slope in the highlights and shadows (thus decreasing the contrast).

Simple curve adjustments are applied to a combined rgb channel. Advanced curve adjustments can be applied to individual channels in any color space such as RGB, LAB, or CMYK. This type of thing gives you ultimate control of the tones for each color representation in your image across multiple color channels, but it can be difficult to visualize and control unless you have experience with the tool.

PRACTICE, PRACTICE, PRACTICE

To best understand curves, I would suggest starting out with grayscale images rather than color. Working with a single channel will be about three times more clear than working with three channels. This scenario will allow you to explore the relationship between input and output tones without having to worry about color effects.

If you have a good handle on how the curve tool works, try messing with the color channels in the RGB space to get a feel for how they work. It’s the same concept as with grayscale, but applied to each color (red, blue, green). You can also convert your image to LAB or CMYK color space and experiment with the curve adjustment.