Twirl Effect

Twirl, found under Filters>>Distort in the Photoshop menu can be used to make some interesting effects. Consider the simple crossed lines image below. Activate the Twirl dialog, and adjust the Angle slider to achieve your desired degree of twirl.

I’ll step through how I made one of the twirled image at the top of this post. First I started with a simple, unexciting, daisy photo (all sorts of things make a good starting point – try some different images with colour and luminosity variations that might make interesting twirls – experiment, because the end result will bear little resemblance to the original). I usually start with a square cropped image, but rectangles will work too. Convert the image to a smart object This allows you to tweak the filters you create to adjust the final output without having to start from scratch each time. More importantly, you can resize the image without losing pixels. If you start with a large image (say 4000×4000 pixels, you have to process 16 million pixels through each filter for each change which can be time consuming. If you reduce this (after converting to a smart object) to say 800×800, you only have 640 thousand pixels to process (Photoshop works on an internal copy with reduced size). Later you can resize back to the original, and Photoshop will recalculate with all the original pixels (it may take a while to rebuild to a large size).

To make the image a bit blocky/pixelated, I used a Mezzotint filter. There’s a selection of similar filters in Filter>>Pixelate.

Next, use a radial filter to spread out the pixels from the centre.

If you want even more radial smearing, apply the filter more than once. I used 3 radial filter steps to get a smoother radial smear.

I then applied a twirl filter, then applied it a second time to get a nice spiral. Note that applying the twirl once with a higher angle of twist probably gets you a similar effect – experiment and see.

So far, so good, but not too exciting yet. Here comes the magic. Duplicate the smart layer with its filters (right click on the layer label and select duplicate). The smart object is duplicated and you should see the twirl, radial blur and mezzotint filters in the layers panel. Edit the twirls (double click on the filter label in the layers panel – see my layers panel to the right of this paragraph) and slide the angle slider to reverse the direction of spiral. You may choose the same angles in reverse, or try different spirals – time to experiment. The final step is to change the blending mode – this is where the real magic happens. Here are some variants. Once you have chosen the desired look, it is time to resize the image back to the original size… go get a cup of coffee. After your coffee and cake session, if you are lucky, Photoshop may have finished rendering the image (if not, have another coffee, go weed the garden, go shopping for milk and bread, go for a walk or a cycle, take the dog to the park…. eventually Photoshop will finish).

The captions indicate which blending mode was used in the upper twirl layer.

lighten
darker colour
difference (with an added brightness adjustment on top)
difference – this is a crop of central part after I resized back to 4000×4000 pixels (note: with increased brightness adjustment)
difference, with a third twirl layer with different twirl angle added on top. Probably needs some tweaking with brightness and contrast, but you can experiment.

If you want to make bilaterally symmetrical twirl images, a useful trick is to start off with a bilaterally symmetrical image. Usually your images are not symmetrical, but you can make a symmetrical image by selecting the left half of the image using the rectangular marquee (use Image>Image size to determine the width in pixels, halve that. As you drag the rectangular marquee it shows the size of the selected rectangle on an overlay, so you can easily make an exact half-width selection). Duplicate the selection into a new layer (Ctrl-J). Flip the new layer horizontally (Edit>transform>flip horizontal) and move to the right side of the image. You now have symmetrical image where the left half is mirrored on the right half.

Below is an asymmetric image and a resulting twirl. Below that I have made a symmetrical image from the same image, and then the twirl that results (same settings).

I hope this is of use as a basis to get you started. The trick is to experiment with your own images and tweak the settings on the filters (or even try different filters) to see what you can create. If you have any comments, please let me know.

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The making of “At Home with the Mouse Family” by Bob Thomas

Bob has kindly shared a short video to show how he made his award winning entry “At Home with the Mouse Family”. Enjoy.

The making of At home with the mouse family, by Bob Thomas

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Local adjustment tools in Lightroom

Lightroom has three local adjustment tools (excluding the red-eye reduction tool), the linear gradient tool, the radial gradient tool and the paintbrush tool.

The right three icons are the gradient, radial and brush local adjustment tools

Gradient tool and Radial gradient tool

Clicking the gradient or radial adjustment icon brings up the adjustment dialog. You can have many individual local adjustments on your image, each with its own selection of settings and position. The top row of the dialog has which adjustment mask you want to edit – A new one, Edit and existing one (look for an edit pin (small circle overlaid on the image, assuming the Show Edit Pins control (see below image) is set appropriately. To edit the settings defined for an existing adjustment, click its pin. The current settings will be loaded under the Effect list. Click and drag on the image to apply the local adjustment mask. If you want to see the adjustment mask, click the Show Selected Mask Overlay checkbox below the image (the area where the currently selected local adjustment will be applied is overlaid in red, similar to a quick mask mode in Photoshop.

The local adjustment dialogues remember the previously used settings when you create a new adjustment. You might want to double click the word Effect below the mask section, to reset all the adjustments to no effect, so you can set the desired settings for the new adjustment starting from scratch, before you create the next local adjustment.

If you want to change the settings on any previous adjustment, select its pin, and change the settings as desired (including position, size and feathering). For radial masks you can also use the Invert check box to switch the mask from on in the centre to on everywhere outside the centre. So to make a vignette, you might turn off Invert, choose an adjustment that is a drop in exposure, then draw from the centre of the image outwards to generate the vignetting you desire. Alternatively, say to brighten someone’s face, you might set exposure up 0.5 stops, click on the Invert control and draw a radial gradient with a large feather over the face.

Sometimes you may want to tweak the mask for such an adjustment. for example you might use a linear gradient from the horizon up to darken the sky. However, you don’t want to darken the promontory that juts out into the sea crossing the horizon. There are a couple of ways to exclude this promontory from the local adjustment. First, you could paint out that area from the mask – whilst editing the adjustment, click the Brush word in the top line (Mask:) of the dialog. Make sure you have clicked Show Selected Mask Overlay, so you can see the extent of the gradient mask. Move the cursor over the image and it shows two concentric circles representing the size and feather of the brush. Hold down ALT and the central plus symbol changes to a minus symbol. Now, whilst holding down Alt, paint over the bits you want to exclude from the adjustment (ie the promontory). Use the scroll wheel to adjust brush size, and shift-scroll wheel to adjust the feather, and zoom in at 1:1 or greater to allow greater precision in your selection. You can also add to the mask by releasing Alt, so your linear gradient can be extended if needed. Radial gradients can be modified in a similar way.

The second way, is to use a Range Mask (see the control at the bottom of the local adjustment panel). In the example we are discussing, you could use a luminance range mask since the sky is brighter than the land. Or a colour range mask since the sky is blue and the land is green. Select a colour range mask, then click the colour sampler tool on the sky. Since the pesky promontory is a different colour it will be excluded from the adjustment by the Range Mask.

The luminance Range Mask is also very powerful. Here you set the limits on luminance on the underlying image where the mask is to apply. Drag the left slider to the right to exclude darker parts of the image from the mask, or drag the right slider to the left to exclude brighter areas. The Smoothness control adjusts the blending at the edges. Have a play and see what it does on your images.

Brush Adjustment Tool

This has similar adjustment settings available as the linear and radial gradients, but in this case you use a paintbrush tool to paint in the mask. Below the settings is a section defining the brush – here you can set the size, and the feather (or use scroll-wheel/Shift-scroll) and the flow (how rapidly the brush strokes build up – with a low flow, you can use multiple strokes to gradually build up the adjustment mask, for subtle effects). You can define two brushes: A and B with different sizes and feather and flow (and the Erase brush also has its own size/feather/flow setting). For example you might have one large for the expanses, and one small for fine detail around edges. Once you have started a mask, you can click the Erase to switch to erase mode, for example if you painted past an edge in error. The Auto Mask setting can be useful to help automatically end the mask when you get to a contrasty edge. Often it will leave quite a speckled mask over the areas painted, but you can turn off Auto Mask and paint over these areas away from the edges you want to define the mask to fill in the missing flecks. The Density control allows you to tone down the overall effect of your adjustments (sometimes it is easy to set an extreme set of adjustments, making it easy to see where the adjustment changes the image, then dial back the effect to a more reasonable level later. There is also a Range Mask control that works in the same way as it does with linear and radial gradient local adjustments.

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Split Toning

Think about the light on an image. Consider an image with end of day sunshine casting shadows across a landscape/cityscape. The sunlit areas get warm, orangish light, whilst the shadows will be colder, with light from the blue sky. You can exagerate or reduce this effect with split toning, by selectively tweaking the colour balance in the shadows and highlights. This can give your images a cinematic feel (cinematographers regularly use split-toning effects) or selectively bring out colours for added impact.

You can use split toning more creatively. For example you may want to add a sunset sky to a landscape you took at midday. Using split toning, you can add warm sunset tones to the highlights and cool the shadows for a more end-of-day look. Perhaps you want to make a street scene you took in the day look like the night. Dial down the exposure, boost the exposure round the street-lights. Use split toning to cool the shadows and add warmth to the highlights you added for the fake street-lighting.

Whatever you use it for, remember that split toning usually works best to make subtle adjustments.

Here is an image of the Carrillon in Canberra, comparing before and after a rather inexpert and heavy handed split toning treatment.

Split toning is built into most image editing packages and generally works in a similar way. Look up instructions for your particular package.

Here are some web-resources that might get you started.

Further reading

Split toning in Lightroom: https://shotkit.com/lightroom-split-toning/

https://digital-photography-school.com/use-split-toning-make-photos-stand/

Here is a video based one https://fstoppers.com/education/guide-what-split-toning-and-how-use-it-lightroom-255547

A more advanced approach https://www.bwvision.com/advanced-split-toning-techniques/

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Doug Porter – Hons SIG 10 June and Creative SIG – 11 Aug 2020

Doug Porter is a Melbourne based international and nationally awarded photographer of fine art and pictorial images. You can see his galleries of fine art images at https://frescoimages.com .

Doug gave an inspiring presentation at the Honours SIG meeting on 10th June 2020, showing his editing processes. Watch the presentation on YouTube.

Following his presentation, Doug very generously invited members to submit images, one of which he would select and use to demonstrate his editing style. Fantastically, he did this not for one, but for all 7 images that were submitted. The images are presented below in before/after views. I am sure you will agree that the transformations are spectacular. Right-Click>>view image to see the JPEG files at full size. Doug also gave us the PSD files with the layers so you can follow his edits and see how they work by stepping through the layers. Click the links below the images to download the PSD files (beware these are all large files).

Felix Shparberg: Untitled PSD file with layers and masks 26 MB

Rosie Hughes: Bath PSD file with layers and masks 31 MB

Lyndel Holt: Burra Homestead, S.A. PSD file with layers and masks 35 MB

Richard Pilcher original left; Doug Porter edits right.

Richard Pilcher: Untitled PSD file with layers and masks 28 MB

Helen Warnod: Vista PSD file with layers and masks 57 MB

Ken Barnett: Untitled PSD file with layers and masks 15 MB

Angela McLeod: Untitled PSD file with layers and masks 15 MB

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Smart objects (Photoshop)

Before smart objects were introduced to Photoshop, if you edited a pixel layer, you changed the data in that layer so your edits were a one-way process. Smart objects changed that. A smart object’s base image is edited non-destructively. Any edits are added as a list of instructions embedded with the object, so you can return later and change those instructions to alter the edits. Since you are not altering original pixels, just changing the recipe for the edits, there are no losses in quality. If you scale, warp, distort you can modify these transforms later. However some operations that change the pixels, such as painting, burning or cloning, cannot be done on a smart object. For these you need to create a copy of the smart layer and rasterise it to allow these edits. For Dodging and Burning you can do this on a separate layer by painting in black or white and adjusting the transparency to adjust the intensity of the effect.

If you are compositing, you can paste in the pixels from another file and right-click the layer name and select Convert to Smart Object. Or you can insert images as linked smart objects rather than pasting in the pixels from the original file. Photoshop will find the needed pixels in the original file when it needs to show them. Your files might be much smaller since you are only adding a link to the original file, not the original file as a pixel layer. Perhaps you are not sure whether bird1 or bird2 is the image to add to your bland sky? paste Bird1 as a smart object. Resize it to suit. Then you can simply tell photoshop to link to Bird2 instead of Bird1 to see what the different image looks like. Bird2 will appear with the same transforms and edits that you set up for Bird1. Want to add several copies of Bird1? Duplicate the layer a couple of times. Move the duplicates to where you want them. Transform them as desired. Photshop only needs to store the edits for the new layers. If you decide you want to make them all a bit whiter? No worries. Adjust the colour and tone of the original layer, and the other 2 layers will change at the same time. In the image below, for example, the 3 seagulls are all the same bird, duplicated as smart layers, moved, flipped and puppet-warped to make them each distinct.

I hope this brief introduction has convinced you that Smart Objects are worth further learning. There is a lot to know about smart objects so I will refer you to more comprehensive resources.

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Nik Collection

Nik Collection is a popular set of 8 photo processing plugins for Photoshop, Lightroom, DxO Photolab, Affinity Photo and some other packages.

  • Color Efex Pro — Package of filters that comes with many effects for adjusting tonality and colour.
  • Viveza — Color control with advanced functions to change contrast and saturation
  • Dfine — Noise reduction
  • Sharpener Pro — Image sharpening
  • HDR Efex Pro — Specialized program for processing HDR pictures
  • Silver Efex Pro — Black & White conversion
  • Analog Efex Pro — Applies film-era camera, lens, and film simulation to digital images.
  • Perspective Efex — Corrects perspective and optical geometric distortions

The collection was developed originally by Nik software which was later bought by Google. Google eventually ceased development and made the program suite free (see below). DxO later acquired the software and resumed development (currently version 3).

Free version 1.2.11 circa 2016

These links may change. The software has undergone some development and improvement since this era, but for the price, this edition is good value if you don’t want to fork out for the current offering.

Current version

Currently DxO offer a free 30 day trial, and sells a lifetime license. Among its features, the Lightroom plugin offers a non-destructive workflow (via multi-layer TIFF files). The filters offer a diversity of controls for colour and tonality and a huge range of presets. The denoise and sharpener plugins are reputed to work well.

Links and Reviews

  • https://nikcollection.dxo.com/
  • https://www.digitalcameraworld.com/reviews/dxo-nik-collection-3-review#section-color-efex-pro
  • http://www.northlight-images.co.uk/review-of-dxo-nik-collection-3/
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Faststone Image Viewer

An image browser, converter and editor that supports all major graphic formats including BMP, JPEG, JPEG 2000, GIF, PNG, PCX, TIFF, WMF, ICO, TGA and camera raw files. It has a nice array of features such as image viewing, management, comparison, red-eye removal, emailing, resizing, cropping, color adjustments, musical slideshow and much

https://www.faststone.org/

Windows Only.

This is a fine image browser with ability to tag files, to copy and move files, and view EXIF data. It handles most image formats including most Raw formats. However it cannot be regarded as a fully fledged digital assets manager, with only basic tools in this area.

For a file viewer, Faststone Viewer has good, although basic, editing functions. It has the usual suite of adjustments for tone and colour and monochrome conversion. It can crop or rotate (only 90 degree increments), and has clone and heal tools. You can edit raw files, but you must save the edits as an editable format (jpeg / tiff) after you finish.

You can crop and resize. It has batch tools so you can crop, resize, rotate, convert between image formats, and rename groups of images at a time.

Non-destructive editing is not on the menu. If you want, save a copy of the file (at different points of your edit sequence if you like so you can resume editing from different stages).

You can add shapes, lines and text to an image, but these are functions more useful for annotating images than for photographic art.

There are no layers or masks and no capability to combine multiple images (compositing). Faststone viewer is not an alternative to a full blown image editor. (If you want a free editor with more capability try out Paint.net which has a simple interface but has powerful capabilities including layers and blend modes. If you want the full monty with a free program try GIMP)

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DxO Photolab

Overview

DxO photolab works well as either a standalone program or a plugin to Lightroom and Photoshop (and perhaps other packages). It is a comprehensive non-destructive Raw image editor with a large array of adjustments/filters, and a suite of presets and colour management controls. Layers and masks allow excellent control of local adjustments. It has a powerful array of filters, strong abilities to correct for specific lens defects. It has good denoise and sharpening functions.

It has limited digital asset management in the form of a file/image browser and can use keywords to tag images, as well as the usual star and colour ratings, and EXIF data in the file can be edited.

The software comes with a one-off purchase price. DxO offer 30 day free trials on all their software so you can try before you buy.

DxO also own the Nik collection of image editing utilities that work as plugins. These are excellent and worthwhile considering in their own right to use in conjunction with other software.

More Reviews and Resources

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Topaz Labs AI Software – Sharpen, Denoise, Gigapixel, PhotoAI

Topaz labs have made a range of specialist image processing software over the years. Their focus has become AI (“artificial intelligence”) based tools. There are lots of detailed reviews on the web, so I will just do a quick overview of my thoughts on these.

Topaz makes the programs free to download to try out, so give them a go if you think they might be useful to you.

These tools all use a lot of computing power. If you have a computer with small memory and a low powered graphics processor, they can be slow. I recently upgraded my computer to 32 GB RAM and a nVidia 3080 graphics card, and now the programs run quite fast (though far from instantaneous… the programs to a lot of computing).

Topaz Sharpen can do a remarkable job, particularly with things that were in the training AI models. Faces and feathers are good examples. It has separate models that are trained for focus/lens blur and motion blur. If all you have is a tiny bit of unsharpness, it can do an excellent job of sharpening without obvious halos etc. It won’t work well for everything, and sometimes it generates some undesirable artifacts, but, overall, it is a very useful tool to have. The program can automatically detect a subject and sharpen just that, and there are manual controls to assist in subject selection.

Below is an example of a photo of a swan that I grabbed as it flew overhead (resized image in the left panel). The camera was set at 1/400 sec, so there is quite a bit of motion blur that is visible in the crop in the middle panel. After work using Topaz Sharpen, and some adjustments to the lighting in Photoshop, shown in the crop on the right, the image is dramatically improved. Click the individual images to see the original 100% crops – WordPress will likely have resized the images for your screen and interpolated the pixels in the resize.

Topaz Denoise also does a good job. It also has a number of different models to handle different levels/types of noise Here is an example, a crop of a Gang Gang Cockatoo that I took at 12,800 ISO (600mm, f6,3,1/1000sec). Click the individual images to see the original 100% crop.

Topaz Gigapixel can be useful to rescue those images where you simply couldn’t get close enough to fill the viewfinder with the subject, or if you need to make a HUGE print. Or maybe you need something for a composite and your only image is too small. Here is an example of some bathers a long long way away on a beach – the left image shows the enlarged (pixelated) original and the right is after gigapixel enlarged it 4x (original crop, no lighting adjustments, was 206 x 119 px, After gigapixel it was 824 x 476 px; below is an image compare, slide the middle divider left or right).

Note that because Gigapixel AI resizes images it does not show up as a Filter in Photoshop, whilst sharpen, denoise and photoAI do.

Topaz Photo AI combines all 3 of these into a single package with an AI autopilot mode so you can just add your photo and let it do all of the “thinking”. It seems to be quicker than the individual stand-alone tools, but I suspect it may use a cut-down subset of the AI models to speed the processing (or maybe they rewrote the code to make it faster). One reviewer who reported on a direct comparison found the stand alone apps could produce better results https://www.landscapephotographyireland.com/topaz-photo-ai-review/ but these packages are continuouly being updated, so it may be test for you to download a free trial and see how they work for you.

Topaz Labs also make several other applications including for video processing

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