lots of subtle changes

This was so obvious when it suddenly dawned on me. The reason why I mostly end up with very few layers in my Photoshop editing is that I tend to try and make all the curve adjustment in one layer. One layer for dodging and burning, one layer for correcting colors and so on. So figuratively speaking, I wanted to paint the entire scene without lifting the brush from the canvas.

When I analyzed Diane Varners example a bit closer, I see her doing many small adjustments, and when I looked back at some of my more successful images, that is also what I have done. While doing this, you should pay attention to whether you start to create layers that reverse the effect of a previous layer instead of removing the previous. When I have done this, I have made my worst failures.

So, adding many small and subtle adjustments seems like an easier approach than doing it all in one stroke. And why not, this is what you do if you draw or paint.

flow for preparing images for web

A couple of days ago, I posted a comment on Singular Images regarding color management when preparing images for web. I mentioned that I use a script to prepare most of my blog images, and here the other day I got a question from Thomas in Italy about these scripts. Well instead of just writing him an email I wrote it all down in a small article on my web page describing the whole process.

Just follow this link. Export for web made easy.

Shadow areas are really difficult in colors

I’m currently working to get this image to print well, but the dark water in the lower right area isn’t very cooperative. On screen, there is quite nice definition in this area. The light hitting the bottom is really nice. On print, it just looks way too dark. Under very strong light, like under a spotlight (or the sun), these details spring to life, but in normal indoor lighting, it is dark and muddy.

I find it extremely difficult to lift the shadows to get good prints and still maintain farily realistic colors. Had I converted it to B&W, it would have been much easier. Going one step up on the abstraction ladder would have givern me more freedom to work the tone scale without worrying too much about keeping it realistic. I don’t see this as an option for this one, as I really like the colors on the rocks, so I’ll give it some more work and see how it turns out.