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The 2nd app in my workflow I use is Photogene... More on how I use it at:
digitalchemicals.blogspot.com/2014/02/ipad-photography-wo...
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About. Me - about.me/edwardconde
Large size | Original uploaded size | My portfolio | My manifesto
No, not a tilt-shift photo, just practicing my CR2 -> DxO Optics -> DNG -> Adobe Camera Raw -> Adobe Photoshop CS4 workflow (I'm planning on using DxO mainly for the geometric corrections - they should make a Photoshop plug-in just for that).
Strike a Pose Workflow Review
“Lightroom Preset Collection for Portraits”
Today I’ll be reviewing a new product from Sleeklens.com, collection of Lightroom development presets and brushes they are calling “Strike a Pose Workflow“. These tools are specific to ... [read more...]
www.bigsunphotography.com/strike-a-pose-lightroom-presets...
Ive been off living and working the life I have, for better or worse,chosen to lead.In that time I have launched a new official website as well as created a profile where you can now find me on linked in.Enjoy my newest and most current workflow.
I get asked a lot how I made the Burning Hand Shot. Here is basically my workflow from camera to finished project omitting the flames added between steps 2 and 3
you can see the final here::
A simple workflow for converting a Digital Object Identifier 10.1093/nar/gkl320 into a PubMedID (16845108) using the NCBI eSearch utitlity.
NCBI services consume and produce complex data types. In Taverna, inputs (e.g. Database name, DOI, Return type in this example) have to be merged into a single string using the perversely named "Input Splitter". Outputs have to be split using the Output Splitter, which appear when you right click on the service in Taverna.
Workflow available from www.cs.man.ac.uk/~hulld/workflows/DOI2PMID.xml and via a simpler RESTian style: eutils.ncbi.nlm.nih.gov/entrez/eutils/esearch.fcgi?db=Pub...
This workflow was created and runs in www.taverna.org.uk/
© István Pénzes.
Please NOTE and RESPECT the copyright.
7th., March 2010, Distagon 50mm at the closest distance. I'm developing a bad habit to fill the last few pictures of every roll with camera porn. I'm sorry....
Hasselblad 503CW
Carl Zeiss Distagon 4.0/50
Kodak T-max 100
T-max developer 8 min. @ 19 Celsius
Coolscan 9000
Have you ever wondered how the articles get from print to you? Check out this awesome behind-the-scenes view of the JSTOR archive production process, in a comic drawn by one of our own staff members, Patrick Goussy.
This screenshot deconstructs by 365 day 31... I've never worked with textures before, but I decided that this image would benefit a textural addition.
1. I opened the original image in Ps, increased the exposure to make it a bit brighter (cancelled out by the new textures so it came back to its original exposure).
2. Opened the texture I got online and pulled it onto my image, using the soft light blending mode. I created a mask and masked off my face to keep it relatively clear (the brush had a 40% opacity I believe)
3. After doing that, I felt it looked better with a bit more contrast, so I made an S-Curve in the curves layer, and bumped the vibrance because I wanted to try the overlay blend on top on the soft light texture.
4. Same texture on the top, only in overlay blending mode, at 70% opacity, then masked out my face again on the forehead and "front" of the face to make it look like I was emerging. Again used a lower opacity on the masking brush, about 50%.
Final Shot here.
Hope this helps! I'm not claiming to be any sort of expert, that was just how I did it. This is far more processing that I usually do, I like Zack Arias' philosophy (well, I heard it from him) that you gotta get it right in camera.
...and if you have any ideas/feedback on how you'd do it, I'd love to hear!
This photo is from a test shooting with fire.
The flames are real, no photoshop.
This is not a composing.
Only things which have been done are adjustmens in ACR (like level adjustments, WB adj. ... )
I'm still working on my workflow to get some real cool flames.
If you guys have any tips, i would be more than pleased to read them :))
Thank you
Here I hone in the mildly interesting and really interesting shots. If I've taken multiple shots of the same subject in rapid succession, then I'll choose the best of the litter. I'll begin to start editing and cropping here and it's very often at this state that a style or theme emerges. In this particular case I started thinking about a series of square crops. I'm left with 26 photos.
Shot in RAW then edited with a full featured photo editor (on a mobile device), does this count as phone photography?
I don't often do human subjects, and I generally don't do B&W. So this is something way different for me today.
Title: Grief
About the photo:
This photo was taken in at the Afghan War Memorial in Kiev, Ukraine on the 23rd anniversary of the end of the Soviet - Afghan war. Temperature that day at 9AM was +7F/-14C.
About the processing:
This is one of the few photos that I have not run through my HDR+ process. Pictures where a human subject is the main focus often doesn't respond well to any HDR process.
Software used:
Photoshop, Color Efex Pro, Topaz Adjust
The Workflow:
1. Import into Photoshop.
2. Duplicate the layer. Layer 1 should appear on top, Background on the bottom.
3. Select the Background Layer. Rename it to "blur."
4. Go to Filters > Blur > Gaussian Blur. Set the Radius to 15, then click OK.
5. Add an Exposure adjustment layer to the blur layer, and set the exposure to -.3.
6. Merge the adjustment layer and the blur layer.
7. Select Layer 1. Add a layer mask.
8. Select the brush tool. Select a soft round brush. Select a size you feel comfortable working with.
9. Make sure your Foreground color is black.
10. Start painting the area around the man. This will blur and darken the background, making the man stand out.
11. Zoom in and examine the area around the man. Paint more if necessary.
12. If you paint too much, set the Foreground color to white to reverse the error.
13. Select Nik Software > Color Efex Pro from the Filter Menu.
14. Select B/W Conversion on the left menu and use the sliders on the right to adjust the effect until you arrive at something you like. Click OK.
15. Select Topaz Labs > Topaz Adjust from the Filters Menu.
16. Select Creative Detail Accent from the Presets Menu. No need to do any adjustments using the menus on the right. Click OK.
17. Back in Photoshop, go to Edit > Fade Topaz Adjust.
18. Adjust the opacity to 50%. Click OK.
19. Flatten Image,
20. Adjust exposure of image up .33.
Take a look at this week’s featured workflow, by Luís Miguel Braga. To be honest, this is the most comprehensive workflow we’ve seen so far (... read more)
Uploaded via tarpipe.
2-days workshop on responsive web design workflow with Adobe Creative Cloud. more info at www.nextflow.in.th or facebook.com/nextflow
How to process "stuff". Organizing and implementing the David Allen "Getting Things Done" method (gtd.) Taken from the DA website at davidco.com/tips_tools/tip32.html. I use it as a screensaver.
Brett Murphy, engineering automation specialist at Oregon DOT, puts CTEC students—and the drones they built—through their paces.
“We have ‘hired’ the students to perform aerial mapping and surveying services. Earlier this year, they prepared contract documents. And we helped them create a workflow to complete deliverables that will meet industry standards.” he said.
“With today’s drone flight the students will acquire data they need to complete their final assignment – a map of the entire testing facility.”