I must start by stating that if you’re really serious about digital painting, you should consider Corel Painter 11, which is a dedicated natural-media painting program that allows you to use anything from a HB pencil to chalk, charcoal and watercolors and also simulates the canvas properties in addition to the brushes. Nevertheless, Photoshop’s new offering is a solid one and more than enough for many artists.

For best results, a Wacom tablet like the new Intuos 4 is also recommended, although not required. In addition to pressure sensitivity, the new Wacom also senses the angle of the stylus, allowing for even more realistic results.

Theory

There are two new features used for painting in Photoshop CS5. The first one is the new Brush Tip options.

New options in the Brushes Panel

With the new brushes, you can control the number of bristles, length, thickness and stiffness and not only can you see the result in the brush panel, you also get an overlay window that shows you the 3D virtual brush and its bristles.

Paint Preview

I am not really a big fan of the brush preview window but thankfully you can turn it off if you find it distracting.

The second ingredient in the digital paint toolbox is the Mixer Brush. The Mixer Brush is like a combination of the normal brush and the smudge tool. As you paint, it smudges and mixes the color, as if you were using wet paints.

Regular brush (left) and Mixing brush (right)

The way the brush color is mixed with the canvas is controlled by three parameters – the wetness of the paint, the load of the brush and the mix amount between the paint color and the canvas color.

Mixing Brush Parameters

To illustrate these parameters, I brushed quickly over an image with different settings:

Different Mixing Brush options

So, a heavy load will carry more paint over a stroke than a light load; wetness smudges and mixes the canvas color with the paint color; a high mix rate will use more of the canvas color than the paint color.

Practice

The real magic with the Mixing Brush is that you can paint using the colors from a picture, effectively helping to you turn a photo into a painting with little effort.

To demonstrate this, I will start with a nice photo I took 10 years ago on film.

The original photo

Create a new transparent layer. Select the Mixing Bush and from the top bar choose the preset Very Wet, Heavy Mix; choose the brush that you want from the Brushes panel and make it a big size.

To paint on the new layer using the colors from the background, with the Mixing Brush tool selected, make sure that the option Sample All Layers at the top is selected. Deselect the icon (Load the brush after each stroke) then Alt-click on the image to load the brush and start painting on the new layer.

To paint effectively, you need to think in terms of layers, from background to foreground and from broad to detail. Therefore we’ll start painting the background, using broad strokes with a large brush tip, ignoring the shack/cabin completely. Your strokes should more or less follow the contours of the terrain and clouds.

Hide the background layer temporarily to see the effect so far:

Background (landscape) layer - work in progress

As you can see, I smudged the colors over the shack as if it did not exist. Also, notice how my strokes follow the hills and the shapes of the clouds. Keep working until you fill the layer and are happy with the result.

Background Landscape layer - complete

Next, we need to paint the cabin. It’s better to paint it on its own layer so that if you decide to change anything, it doesn’t mess with the background.

To do that, you need to hide the landscape layer, create a new one and paint on it. This time you’ll ignore the landscape and do just the cabin. You also need to make the brush tip smaller. Make sure the background photo is visible so it can pick the colors from it.

Cabin / Shack - complete

If you look at the roof, you’ll see that I erased from it some parts I did not like – this is why it’s a good practice to work on separate layer.

Now that we have the broad strokes, it’s time to bring in the details. Repeat the process – hide the shack layer, make sure the background photo is visible, make the brush tip even smaller, create a new layer and start painting on it. This time you no longer need to fill all the stuff, just short, fine strokes in the areas you want detail.

Details - distant, grass and shack

If you show all layers, this is what we get:

Background, foreground and detail layers

Not bad. We still want to add some more details like shadows. Create a new layer and set its mode to Multiply and opacity to around 60%. Choose a Dry Mixing Brush – now we don’t need to mix with the background – and black for color. Paint the shaded areas.

Shadows added in

At this point you can leave it as it is, or you can add a final touch. One of the nice things about oil paint is that it has thinkness. To give this kind of tridimensional effect, you need to create a merged copy of the layers. The easy way is to duplicate all layers and then merge the copy (quickest route: select the layers and press Shift+CTRL+ALT+E or Shift+CMD+OPT+E on Mac). Now you should have a new merged layer in addition to the original ones.

An even better method would be to select the layers, choose Layer –> Smart Objects –> Convert to Smart Object and then duplicate this smart object via Layer –> Duplicate Layer or CTRL+J (CMD+J on Mac). This method is better because it leaves the contents of the smart object editable as well as the Emboss effect.

Whichever method you chose, with this new layer selected, choose Filters –> Stylize –> Emboss and in the dialog enter some values like below:

Emboss Dialog

Make sure Height is relatively small – this depends on how large your canvas is, and make sure you crank the Amount all the way to the max. You can always tone the effect down later with opacity. With this emboss layer, set the mode to Overlay.

Here’s the end result, including all the layers for reference:

Final painting

And there you have it!

New Painting engine

This is something directly aimed at Corel Painter and its ‘natural media’ painting. It’s still not quite there in terms of sophistication as Painter but it’s a big improvement.

Color picker and painting

Puppet Warp

This has been present in After Effects and Flash for quite some time, but it’s nice to have in Photoshop when the Liquify doesn’t cut it. I’m especially thrilled about using the ‘pins’ for controlled image distortions as they illustrate at the end of the video:

New smart selection tools

The selection is getting smarter when there are fine details like fur over complex backgrounds. This stuff has been possible for some time via plugins, but it’s nice to see it integrated (not to mention that it forces the plugin makers to innovate).

Content-aware fill

Remember the healing brush and the patch tool? How amazed you were when you discovered them? Then prepare to be amazed once more:

Overall, Photoshop CS5 is shaping as a solid release, well worth the upgrade.
Of course, we’ll have to wait for the official announcement, but these features are pretty much confirmed.

Updated on January 16 with more details. Also, in a new article I’m providing some details on the challenges and innovations involved in the making of Avatar.

Although usually only big names like Weta Digital or ILM are mentioned in the making of high-budget CGI, there are always tens of companies involved (possibly hundreds considering that work often gets outsourced), with thousands of digital artists, 3d modelers, animators and compositors working to bring the script to live.

It’s also too bad that many of the companies (the ones involved in the production and the ones making the software) do not promote their software more. Adobe was the quickest to show how their line of software was involved, even though it wasn’t really crucial to the project and this is why I decided to make a list and try to give proper credit to everyone involved.

Wireframe of a Na'vi

For Avatar, these are the companies credited for the visual effects:

• Weta Digital, New Zealand (most of the work, character modeling, animation, rendering)
• Industrial Light and Magic, USA (180  non-character shots, mostly the human aircraft in the final battle)
• Stan Winston Studios (most of the props, including the Ampsuit and the Samson helicopter)
• Framestore, UK (70 shots of the Hell’s Gate)
• Hybride, Canada (graphics for the link room)
• Prime Focus, USA (design and compositing of the control room screens, HUDs, etc)
• Look Effects, USA (compositing)
• Hydraulx, USA  (digital extension shots of crematoria and cryovault)
• Giant Studios, USA (motion capture)
• Blur, USA (4 space shots of ISV Venture Star)
• Pixel Liberation Front, USA (screens and HUD design)
• BUF (the conscience-transfer tunnel)
• Lola VFX, USA (digital cosmetic)

ZBrush study

And here are the main software used:

• Autodesk Maya
• Pixar Renderman for Maya
• Autodesk SoftImage XSI
• Luxology Modo (model design, e.g. the Scorpion)
• Lightwave (low-res realtime environments)
• Houdini (unknown area)
• ZBrush (creature design)
• Auodesk 3ds max (space shots, control room screens and HUD renderings)
• Autodesk MotionBuilder (for real-time 3d visualisations)
• Eyeon Fusion (image compositing)
• The Foundry Nuke Compositor (previz image compositing)
• Autodesk Smoke (color correction)
• Autodesk Combustion (compositing)
• Massive (vegetation simulation)
• Mudbox (floating mountains)
• Avid(video editing)
• Adobe After Effects (compositing, real-ime visualizations)
• PF Track (motion tracking, background replacement)
• Adobe Illustrator (HUD and screens layout)
• Adobe Photoshop (concept art, textures)
• Adobe Premiere (proofing, rough compositing with AE)
• many tools developed in-house
• countless plugins for each platform, some of them Ocula for Nuke, Ktakatoa for 3ds max, Sapphire for Combustion/AE.

The list of tools is not exhaustive and you can see there’s overlap in capabilities, depending on each company’s pipeline.

Setting it up

1. Open Edit –> Preferences –> Guides, Grid and Slices
2. Edit Gridline every… 100 percent
3. Subdivisions… 3
4. Click OK

That’s it!

Now to show or hide the grid, just press CTRL+’ or select View –> Show –> Grid

Image with visible grid

What is this Rule of Thirds anyway?

Just in case you never heard of this “rule”, let me give you some points:

Beginners in photography tend to frame everything dead in the center. Sometimes it works, sometimes it doesn’t. There are many rules that can be used to achieve a more pleasing composition and this is one of them.

The Rule of Thirds states that you can achieve better composition balance if you place the interesting features of your photos along horizontal and/or vertical lines that divide your picture in thirds, or at the intersection points.

To illustrate my point, have a look at the pictures below:

Horizon and tower aligned to the lines

Eye at the intersection

As with any photography “rule”, you shouldn’t get obsessed with it. Not everything has to be framed according to it. Understand it, learn it, try it – then break it!

Below you can see the ‘before’ and ‘after’:

Day to night conversion: before and after

The original, straight from the camera image is mind-numbingly dull; it’s the very definition of dullness. It was shot in a overcast February afternoon. As boring as it is, it was perfect for my purposes. I wanted to convey a sense of ‘out of place’, of a person that doesn’t really belong there, forcing the viewer to create a story – who is this young and attractive woman and what is she doing in this miserable street?

The overcast day had the advantage of decreased contrast and a complete lack of shadows, allowing me a wide range of editing.

Creating the light/dark versions

First thing, I created two Virtual Copies in Lightroom:

Original, with default contrast. Slightly overexposed too.

The “lit” version, Contrast was set to 100, also Clarity was was to max, increased vibrance. White Balance was set to Cloudy

The “unlit” version. The image was underexposed by 2 stops. White Balance was set to Tungsten.

Same image with different WB settings

As you can see above, the altered versions are already better — especially the “night” one, dark and moody. However, the street lamp gave me the opportunity to go the extra mile in creating something realistic.

Mixing light and dark

Having exported the two versions as 16bit TIFF (for maximum quality), I opened both of them in Photoshop. I then copied the “dark” one and pasted as a layer over the “lit” version.

Creating a new layer mask

It was pretty clear already that quite a lot of trial-and-error was to be expected, so instead of simply using the Eraser to remove parts of the “dark” layer, I decided to use a mask instead.

I selected the Dark layer and from the Masks panel, I clicked on the Pixel Mask button to create a new mask.

A Pixel Mask works just like an alpha channel for the layer – it’s a grayscale bitmap where white is opaque and black is completely transparent. What’s cool about it is that you can alter the opacity of the layer by painting on the mask.

The effect of the layer mask in mixing the lit/unlit areas

You can see on the left how the mask affects the mix between lit and unlit areas.

I clicked on the mask in the Layers panel to select it and then I simply used a semi-transparent, highly feathered black brush to create transparent areas.

There are three main lit areas: the light on the wall, faing out, the light on the pavement the light spill on the roof. You can notice that I preferred to paint everything instead of using gradients, to avoid the artificial “perfect” look.

Adjusting the exposure

The light was still too even in the lit area; close the the light source I needed something much more powerful (remember that light falls off exponentially). To improve the realism, I added an Adjustment Layer just above the Lit layer.

The Exposure Adjustment Layer

The Adjustment Layer was set to Exposure (Layer –> New Adjustment Layer –> Exposure). I added a simple radial gradient as a mask for this layer the same way as previously and then I tweaked it to get a slightly overexposed look.

Adding the glow

By now I had the light on the wall and pavement pretty much in place; it was time to turn to the light bulb. For this, I simply used the Lasso tool to select the visible area of the bulb and then copied and pasted it as new layer. I then used the Curves to make the bulb much brighter. Finally, from Layer –> Layer Style –> Outer Glow I created a nice amber glow around the bulb.

Setting the glow on the light bulb

Below you can see the exact settings for the glow:

Light bulb glow settings

I still wanted to add some nice touches: the glow should not be that strong in the upper area. Can you guess what I used? Yep, another Layer Mask.

Please note: By default, layer masks do not affect the layer effects. To make a layer mask hide the effect, open the Layer Style window and go to Blending Options section. From there, check the “Layer mask hides effects” option.

In the layer mask, I painted in black the areas I wanted the glow to be weak. Below you can see the result:

Glowing behind the edges

As you can see, I did not eliminate the glow completely, but created a glow-behind-the-edges effect that is seen in high-contrast situations.

Lens flare

A simple lens flare

Most designers, upon hearing the words “lens flare” run away screaming. They are very often overused and cheesy. Even the new JJ Abrams’ Star Trek features some lens flares annoying as hell. Still, they an unavoidable part of photography and can add some realism if used wisely.

Subtle lens flare applied

Unfortunately, Photoshop’s Lens Flare effect is laughable. I think it’s the same effect as 15 years ago. I only know of two decent lens effects – one in the old plugin Kai Power Tools 6, the other is Corel Photo-Paint. Both of them allow you to control the size, glow, ring, stars, streaks and reflection trail. This is not a tutorial on lens flares, but modern, good lenses don’t create reflection trails, but only a nice star pattern with minimal interference or random streaks.

For this photo I created a very simple star pattern on black background and I put it as a layer with blending mode set to Linear Dodge (Add) at 33% opacity. You can see that the effect is barely there; its purpose is to enhance the scene in a minimal way, not to overpower it.

Shadows

Selecting the body shape

If you recall from the beginning of this tutorial, the original image had no shadows because of the overcast sky. Now, as I created a light source, I needed to create a shadow too.

Refining selection edges

With the background layer active, I started to make a simple selection on the girl using the Magnetic Lasso. I didn’t even needed to be very careful, but just to follow the contours.

Once this was done, I clicked on Refine Edge and increased Smoothness and Feathering. After that, I created a new layer and filled the inside of the selection with black.

Distorting the shadow

The next step was to convert the new layer into a Smart Object via Layer –> Smart Objects –> Convert to Smart Object. Why? It’s because a smart object’s original appearance is preserved so I could distort it any way I wanted without degrading its appearance on each step.

Finally, I set the layer’s blending to Multiply and its opacity down to 50%.

Final result

Here’s the final view with all the layers:

All layers

In case you are curious what I’m dealing with in this article, have a look:

HDR of Orthodox Cathedral, Sibiu, Romania

The cathedral is located here.

If you find it interesting, read on.

Introduction

Just in case you’re unfamiliar with the therm, HDRI stands for High Dynamic Range Imaging. As I’ve discussed before, a regular photo can’t capture the full range of lights and shadows that the human eye can see. Photographers have long learned to avoid high-contrast situations or to use them to create artistic effects. It all changed when Paul Devebec presented at SIGGRAPH 1997 a method for combining several images with different exposures into one single image with a much higher range of luminosity. To put things in perspective, a camera sensor can cope with contrast ranges on the order of 4000:1, while a scene of a room with an outside view in full sun (something our eyes see every day) has a dynamic range of 100,000:1.

Initially HDR was used in 3D graphics as environment maps to create realistic scenes. Because a HDR image contains 32bits per channel (in floating point, e.g. can take almost infinite values), it cannot be displayed directly on the screen or printed on paper, so a second operation is needed, called Tone Mapping. Tone Mapping consists in “compressing” the high dynamic range back into something we can see on screen. This is something easier said than done; a simple conversion results in a lifeless, murky image so there’s a whole research field in creating algorithms that present images that are realistic and pleasing for the eye.

Shooting the scene

Equipment used:

• Sony α700 DSLR;
• Sigma 10-20mm lens;
• tripod (Canon, in case you’re interested).

First, a straight JPEG of the cathedral interior is hopelessly bad. The stained glasses are blown out while many areas are pure black. Colors are muted and overall it’s not an incredibly attractive picture. Shooting with Dynamic Range Optimizer marginally improves the shadow detail, but not by much.

JPEG image lacks the needed dynamic range

So, I put the camera on a tripod and shot eight pictures, from under- to over-exposed, one f-stop apart each. I started with just enough light to see the windows and ended with an exposure long enough to see clearly in shadows. Here they are:

8 images with different exposures make the final HDR

Picturenaut

Picturenaut is a nice little FREE tool from a guy named Christian Bloch. The interface is pretty barren, but it has to be the fastest HDR tool I’ve tried. Did I mention it’s free? (some tools can cost $700)

Selecting images for HDR

Tone Mapping dialog

First step is selecting all images that will make the final exposure. Picturenaut has the option to automatically align the images, which is extremely important since even with the camera on tripod the image can be slightly different from shot to shot.

Aside from being very accurate, Picturenaut is really, really fast. It generates the HDR in no time. The HDR image displayed on screen usually looks rather flat, but that’s expected. You can save it as a 32bit TIFF if you want.

Second step is the “fun” part – tone mapping. Picturenaut offers two algorithms (Adaptive Logarithmic and Photoreceptor physiology). Which one is better depends on the actual scene.

The tone mapping is also very fast, almost real-time.

Photoshop

Image selection for HDR

Tone Mapping in Ps

You access the HDR option from File –> Automate –> Merge to HDR (rather unintuitive, but that’s me). The process is very slow, “Aligning layers based on content” message seems to take forever.

For Tone Mapping (achieved via Image –> Mode –> 8 bits/channel), Photoshop offers four options: “Exposure and Gamma“, “Highlight Compression“, “Equalize Histogram” and “Local Adaptation“. Again, depending on the scene, one mode may be more useful that the other, but I find Local Adaptation to be good, with Highlight Compression and Equalize Histogram essentially useless.

Image Quality: Photoshop vs. Picturenaut

With both programs, after tone mapping, I spent some time tweaking the image, playing with Curves to increase the contrast and Saturation to bring out the true colors I saw in the cathedral.

Here’s the side-by-side end result:

HDR result - Photoshop vs. Picturenaut

Apart from some color differences, the two images are remarkably similar. I did manage to preserve highlight detail better in Photoshop and its local contrast made everything “pop” more, but overall they are on par, so if you can’t afford Photoshop or some “pro” tool, Picturenaut will deliver good results (but you still need to tweak it, it’s not a “push the button and you’re done” kind of operation).

You can also customize your shortcuts using the Keyboard Shortcuts command by using Edit > Keyboard Shortcuts but I’m going to give you the default keyboard shortcuts and talk about customizing them in another post. To activate a tool through a shortcut just hold down the a key or a set of keys for a short period of time. I’m going to group the shortcuts in categories.

I find most important to know the keys for tools because that’s what you use more frequently so here they are, I also added an image to help you see which button is which:

1. V – Move tool
2. M – Rectangular Marquee tool,Elliptical Marquee tool
3. L – Lasso tool,Polygonal Lasso tool, Magnetic Lasso tool
4. W – Magic Wand tool,Quick Selection tool
5. C – Crop tool, Slice tool, Slice Select tool
6. I – Eyedropper tool^, Color Sampler tool, Ruler tool, Note tool, Count tool
7. J – Spot Healing Brush tool, Healing Brush tool, Patch tool, Red Eye tool
8. B – Brush tool,  Pencil tool, Color Replacement tool
9. S – Clone Stamp tool,Pattern Stamp tool
10. Y – History Brush tool,Art History Brush tool
11. E -Eraser tool^, Background Eraser tool,Magic Eraser tool
12. G – Gradient tool,Paint Bucket tool
13. O – Dodge tool, Burn tool, Sponge tool
14. P – Pen tool,  Freeform Pen tool
15. T – Horizontal Type tool, Vertical Type tool, Horizontal Type mask tool,Vertical Type mask tool
16. A – Path Selection tool,  Direct Selection tool
17. U – Rectangle tool,Rounded Rectangle tool,Ellipse tool,Polygon tool,Line tool,Custom Shape tool
18. K -  3D Rotate tool,3D Roll tool,3D Pan tool,3D Slide tool,3D Scale tool
19. N – 3D Orbit tool ,3D Roll View tool,3D Pan View tool, 3D Walk View tool, 3D Zoom tool
20. H – Hand tool
21. R – Rotate View tool
22. Z – Zoom tool

Brushes panel keys are important too some of the tools are brushes based.

23. Delete brush – Alt-click brush
24. Rename brush – Double-click brush
25. Change brush size – Alt + right click + drag
26. Decrease/increase brush softness/hardness  - Alt + Shift + right click + drag
27. Select previous/next brush size – , (comma) or . (period)
28. Select first/last brush – Shift + , (comma) or . (period)
29. Display precise cross hair for brushes  – Caps Lock or Shift + Caps Lock
30. Toggle airbrush option - Shift + Alt + P

Transforming selections, select borders and paths are also important and here are your keyboard shortcuts:

31. Transform from center or reflect - Alt
32. Constrain – Shift
33. Distort – Control
34. Apply – Enter
35. Cancel – Control + . (period) or Esc
36. Free transform with duplicate data - Control + Alt + T
37. Transform again with duplicate data – Control + Shift + Alt + T

The Layer panel also has shortcuts that you may use, here are some:

38. Group layers – Control + G
39. Ungroup layers – Control + Shift + G
40. Create/release clipping mask – Control + Alt + G
41. Select all layers - Control + Alt + A
42. Merge visible layers – Control + Shift + E
43. Edit layer style – Double-click layer
44. Show/hide this layer/layer group only or all layers/layer groups – Right-click the eye icon
45. Disable/enable vector mask – Shift-click vector mask thumbnail
46. Toggle lock transparency for target layer, or last applied lock – / (forward slash)
47. Edit layer effect/style, options – Double-click layer effect/style
48. Move layer to bottom or top – Control + Shift + [ or ]
49. Copy current layer to layer below – Alt + Merge Down command from the Panel pop‑up menu
50. Merge all visible layers to a new layer above the currently selected layer – Alt + Merge Visible command from the Panel pop‑up menu

Photoshop Elements 7 for $59.99

Photoshop’s ‘little brother’, Elements, is a great tool for photo enthusiasts who can’t justify spending ten times as much for the full-featured Photoshop. If you don’t need CMYK, HDR, 16bit support (or don’t care what they are) then Photoshop Elements may be for you, especially since there are many plugins and tutorials on how to add functionality to Photoshop Elements. Below are some of them:

• Add Photoshop brushes, shapes and actions in Elements
• Layer Mask, Channel Mixer, Transform Selection, RGB Channels and more
• A list with more add-ons and tools

The offer ends on April 23 2009 and it’s valid for North America store.

$200 discount for Creative Suite 4 upgrade

Adobe’s sales for CS4 have been less than stellar, but the suite itself is very good, and for the Web Premium for example, the improvements in Photoshop and Flash alone make the upgrade worth it.

This offer ends on April 30 2009 and it’s valid for North America store.

But first…  a Sneak Preview!!!

In the next tutorial I’m going to remind you that Photoshop is designed for massive photo editing, in 6 easy steps you edit a photo into something magical. I’ll use Photoshop in this case to make my friend look like an elf. Hope you will enjoy my small presentation and have fun trying it.

About the tutorial

I decided to make this tutorial because it is useful when it comes to serious Photoshop editing. So if you think your eyes would look better in a blue color in a certain picture although your natural eye color is green, Photoshop has the answer; (this is also a good way to choose your a color the suits you in case you want to actually buy contact lenses).

How to:

The 6 Things you have to remember are:

• duplicate layer;
• erase the iris on the background layer;
• use the Magic Wand Tool (W) to select the white circle;
• go to Image  – Adjustments – Hue & Saturation and DO NOT FORGET TO SELECT COLORIZE!
• play, experiment with Hue, Saturation and Lightness;
• right click on one layer and select Flatten Image.

Useful:

You can try it out on the original picture I have used in the video. Please do not steal it or use it to other purpose that training, as it’s copyrighted by us.

And here is the video: