The Sin City movies are modern masterpieces that reimagine the film noir genre from the 40s and 50s. Along with the classic characteristics of film noir, neo-noir movies like Sin City also make use of modern effects like partial colour and post processing tricks to mimic comic book illustrations. I’m using this stock photograph of a young female gangster from Shutterstock as the base for this tutorial. Converting the image to black and white is the first step for any film noir inspired image.
Sin City is famous for its partial colour effects which highlight bright reds or yellows from an otherwise monotone scene. Go to Filter > Blur > Gaussian Blur and enter 10 pixels in the Radius option to remove the hard edges from this high contrast layer.
Usually this blurred displacement map layer would be discarded, but it can actually be used to enhance the effect even more by changing the blending mode to Overlay with the opacity reduced to around 40%. Turn off the visibility of all layers, then fill a long thin rectangle with black on a new layer at the top of the stack.
To add some realism, the displacement map we saved earlier can be used to warp the lines so they flow across the contours of the subject’s face. Add a Gaussian Blur filter to eliminate the hard edges to give the lines more of a softer shadow effect, then reduce the opacity to around 70-80%.
Change this layer’s blending mode to Linear Light and reduce the opacity to around 35%.
To finish off the image with an old movie style vignette, fill one last layer with black and add a layer mask.
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The only thing I’d add to this is some grain, either from a texture, or from the grain filter. I’ve tried to follow this, but as it is set up for mac users, I have had to remember that it has different command keys, So firstly, thanks for thinking of those that use a windows pc. Secondly, when I get to the point of putting the black lines across my image, when I press ctrl+t to open the transform tool, right click and choose perspective, it warps the whole image not just the lines. Amazing Photoshop Tutorial i will try my self as well as i will guide this tutorial to my smart students, i hope they will enjoy. High-key photography, like low-key, is distinguished by intense contrast, and both methods are extensively used by photographers to enhance the drama of a scene. In low-key imagery, black is the key accent colour, giving darker images with a more sombre feel.
You need to play with the curves in order to get the best contrast between the shadows and the highlights. You will need to change the settings that you use for each image, as the Curves values will depend on how much contrast there is in the original photograph. A great way to concentrate on form, dark tones and shadows in your still-life scenes is to use low-key lighting.
You can use any image you want, but Ia€™ve found that ita€™s best to go with pictures that feature isolated subjects.
Once Ia€™ve selected my entire subject, I go up to select --> invert to reverse the selection and give me the background. Wea€™re basically going remove all of the color information from the image and then put it back in later with any color of our choice. The cutout filter creates that distinct Andy Warhol look, and ita€™s what wea€™ll be using on our now black-and-white banana. You can change the transparency of the image by clicking on the button the right of a€?opacitya€? on layers, and then adjusting the slider.


After playing around with the slider, and seeing the result, I settled on an opacity of 55%. Whata€™s nice about the cutout filter we applied earlier is that it has made it very easy to select entire color blocks of our image. To get the image below, I selected some of the darker patches of color in the banana and then replaced them with a similar dark color. While I was tiling my images, I would flatten them, copy the image over to the bigger file, and then hit undo a few times to get back to the unflattened image. To tile them, wea€™ll need to create a new image file thata€™s twice the size of the first image.
From there, create a new file at those dimensions, and then copy and paste the four images into it. FRED SHEPPARD says:Sep 22, 2011For the highest quality I use the lowest ISO possible to stop all action and camera shake. They use black and white imagery with low key lighting to creating striking pictures with high contrast between light and shadow. We’ll use techniques in Photoshop to replicate these styles and create a dark atmosphere within a static image. The original photo has more of a fancy dress vibe than a gritty graphic novel look, but we’ll soon sort that out with some Photoshop tricks! There’s a range of ways this can be accomplished in Photoshop, but a Gradient Map will provide the highest contrast. Use a black brush with moderate hardness settings to paint over the lips of the subject in the Gradient Map’s layer mask to remove the effect from this selection. The grey layer without the Overlay blending mode shows how the tones are traced from the original photograph. Bend the line downwards near the shadows to deepen the blacks and increase the highlights slightly without blowing out the whites too much. Paste this clipping onto a new layer and alter the Levels (Image > Adjustments > Levels) by dragging the shadows and highlights sliders inwards towards the centre to dramatically boost the contrast.
You might also want to save a second document so you can differentiate between your working document and this temporary displacement map file. The result is an increase in contrast while smoothing out the fine details from the photograph to add to the illustrated look. Press CMD+T to Transform, then move the shape vertically, leaving roughly the same gap between where the original shape was positioned. Dramatically distort the layer so the lines span across the subject and mimic the shadow of a window blind. Paste the clipping on a new layer and add a High Pass effect (Filter > Other > High Pass) using a 1px Radius. Use a large soft brush to erase the black around the centre of the image, leaving the black overlay to creep in at the corners and edges. The array of black and white contrast enhancing tweaks help draw your eyes in to the highlights which emerge from the shadows, while the subtle blurring and lighting effects help tell the story of the scene as if it’s a freeze frame from a movie. You’re right that this drama is usually achieved at the shooting stage, by setting up key lighting to the side of the subjects and bouncing the light around the scene in the right way. As we’re going high key, you want to overexpose the image and go bright white in the highlights. This style can be achieved without tonnes of specialist gear, by using one flashgun positioned to the side of your setup, and a dark backdrop. Mount a wireless trigger to the camera’s hotshoe if it doesn’t have an integrated transmitter.
Set the shutter speed to your maximum flash sync speed, and begin by taking a test shot with a narrow aperture.


Andy Warhol himself picked still life subjects like cans of soup, so wea€™re going to use an image of a banana.
Wea€™re going to do this by using layers and then changing the opacity until we get something we like.
You can try different colors as well as different levels of transparency or contrast, but that is the basic idea.
For that effect, create three new Andy Warhol style images using the exact same steps I just outlined. Otherwise youa€™ll just end up copying a big blog of color or the unmodified banana, neither of which you want to straight copy. To find out the size of the first image, go to the image menu, then resize, and click on the a€?image sizea€? option. You might have to zoom in a little to get the edges to line up perfectly, but thata€™s the basic idea. Imagine if Andy Warhol had access to the same tools you and I can purchase for as little as $79. What starts as a cheesy stock photograph becomes an intriguing scene straight from a movie with the help of high contrast to achieve the stylised look, the use of colour and focus to draw in the eye, and faux low key lighting to add suspense and drama.
Select Gradient Map from the Adjustment Layer options and configure to colours to black and white. Usually this Dodge & Burn layer would have its opacity reduced to limit its impact, but at 100% it adds to the comic book style appearance. Alter the size of the blur effect to cover the subject’s face, then reduce the blur amount to around 3px to produce a subtle depth of field effect. Follow the three simple steps below, and tweak your flash power and camera settings until you reach the desired exposure.
Eliminate as much of the ambient light as possible, by shutting curtains and turning off non-essential room lights. Unlike high-key photography, which requires plenty of natural or artificial light, a low-key lighting shoot requires very little, and it’s really easy to have a go at. You'll find yourself taking better shots by using just two or three tips!Prepare to learn photography the fun way!Simple and effective tips and techniques. But if your image does have background, youa€™ll need to separate it from your subject before continuing on.
Wea€™re going to push a little further and try adding some different colors into the banana. Youa€™ll know if a replacement color does or does not work because if it doesna€™t, it will appear rather out of place.
It might take some subtle tweaking to the flash power and camera settings until you get a result you’re happy with, but the final results are worth the experimentation. In this case, I took the safe route and chose two darker version of orange and yellow both colors that are close to red in warmth. I picked seven for this image because anything else just makes it fade into the background. Wea€™re going to use a few simple tools in Photoshop Elements to transform an ordinary digital photo of a banana into something with a little more panache.



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