I followed a Julieanne Kost tutorial the other day and somehow I must have missed a step because it wasn't supposed to be quite like this. One day I will start again but in the meantime I thought I'd keep this anyway, I quite liked it.

These are 10 images of mine, severely cropped after applying 2 blur filters.

Example of use of TOPAZ AI SHARPEN

A Chiffchaff taking off

Un pouillot veloce qui s'envole

It's impossible to recover a movement blur with a sharpening filter : a sharpening filter will only add noise in this case but it will never recover details.

TOPAZ AI SHARPEN includes a new function called STABILIZE that is different from a simple sharpening filter. It tries to find a movement on the photo and to cancel it. That's why sometimes there are small artifacts on the opposite side of the movement, but it is really easy to deal with them with GIMP or photoshop.

To conclude : this tool deserves a try as it is free for 30 days.

It is very usefull for animals in movement (birds in flight, animals running ...), but it can manage movement of the photographer too.

(DSC08870_DxO-TIFF_1-stabilize70-70-0-4f)

…Or how to squeeze flowers into those teeny-weenie drops

I’ve had several people text me about the earlier “Drops of Art (Carney)” post and that they appreciated the explanation of how refractions works. Some requested additional information about creating water drop photos, so I’m posting this older photo and original tutorial:

I have always been drawn to nature and wildlife photography. I love taking my camera way up north to capture images of seldom-seen animals and exotic scenery. Unfortunately, we can’t always plan distant adventures to shoot photographs of moose and northern lights. But we can train our eyes to find the unexpected beauty in our own backyards.

My fascination (some might call it an obsession) with water drops began when I bought a Nikon D200 last summer. Sadly, the lens I wanted was out of stock. There was no way I was going to just look at my camera body while I waited, so I picked up a Nikkor 60mm macro. Through that lens I discovered worlds of complexity hidden within the simplest tiny drops of water.

I’m often asked if the images inside the water drops are real or the product of Photoshop. Let me assure you they are real, and anyone can find them if they know how to look. Simple physics produces these tiny, beautiful and common images. Water is cohesive, it naturally bonds together in the shape of a sphere, and in that shape it functions as a miniature lens that will refract nearby objects. Using that organic lens as seen through your technological lens, will allow you to explore those tiny, complex worlds.

The water drop photos on my stream have been the result of an evolutional process. My most viewed, most faved and most interesting photo (according to flickr) was taken almost by luck, lying flat on my belly using a Diet Coke can as tripod. But after a great deal of trial and error, I’ve come up with a few simple, consistent steps for more easily creating a water drop photograph.

1. Focus

2. Focus

3. Composition

4. Background

1. Focus: No, that's not a typo; focus is listed twice, and for a very good reason. It’s necessary to consider the focus of the water drop itself as well as the focus of the subject displayed within the drop. My initial concern is the water drop itself and the plant on which the drop is located. I like to set my camera to aperture priority to control the depth of field. The trick is to have enough depth of field so the drop and the plant (and maybe some nearby drops) are all in focus, while leaving the background sufficiently blurred so it doesn't compete for attention. I generally use f8 to f10 but I’ll sometimes stop down to f18 if the background does not need as much blur. I also find I get a sharper focus by backing away just a little and cropping the photo, rather than getting as close as possible in an attempt to get maximum magnification.

2. Focus: As seen in the example above, the water drop is in focus as is the image of the flower seen through the water drop, but the flower itself is not in focus. That effect is achieved not by adjusting the camera, but by relying on the water drop to act as a fixed focal lens. In other words, instead of adjusting the camera I adjust the object I want to appear within the water drop. I simply move it back or forward until I've found the clarity of focus I want. Some photos look better with blurred refractions. For the greatest clarity I've found the object should be 3-4 inches behind the water drop. This, of course, may vary if using a different macro lens. Be sure to experiment.

3. Composition: Obviously, the guidelines for good composition apply to water drop photographs. Attention should be given to the Rule of Thirds, to simplicity, to the geometry within the frame, and to all the usual elements of visual composition. It's important to remember, though, when photographing water drops that the very shape of the drop influences compositional decisions. Since the lens of the water drop is spherical (or nearly so), slight adjustments in the camera position…left, right, up, down…can have a radical effect on what is seen within the drop. Again, experiment.

4. Background: If you're working from nature, your control over the background is necessarily limited. You have to work with what you've got. As mentioned earlier, the unique qualities of the organic lens formed by a drop of water allows you to make minor adjustments in the camera position that will have a profound effect on what's seen within the drop. With a few simple props, you can gain better control over the background. For example, I often rely on a large sheet of insulation, which is bright blue on one side. I originally used it to block the wind, but noticed that even on the dreariest of days it can mimic a perfect azure sky.

Other Considerations: Almost every time I set out to take photographs of water drops, I learned something new. There was always some new factor to consider. I learned, for example, I could get bigger, more cohesive and more interesting drops on humid days. I discovered that even the slightest wind could have disastrous effects on macro focusing, as well as on the water drops themselves. I found that very slightly adjusting the exposure (-0.3EV to –0.7EV) would compensate for the natural sheen of the surface of the water drop, keeping it from being somewhat burnt out. Most important, I had to teach myself to remember that because a water drop acts as an organic lens, it presents everything upside down and in reverse (just like a pinhole camera or a large format camera).

So now I’m one of the few people who looks forward to really still, stifling, humid days. And even though my beautiful Nikkor 18-200mm has arrived, I still have my macro on more than half the time. Water drop photos are not only real, but also addicting to try to master.

That's it. That's how it's done. It's as simple as learning how chess pieces move, and just as complex as a game of chess. Good luck and think small.

Thanks!

Steve

Oi gente....

Fiz um Tutorial (que tá hilário) de um look que eu uso de dia e de noite...

Veja aqui!!!

Estou aguardando o feedback de vcs, gente....

É a primeira vez q eu faço um vídeo e eu tava meio nervosa....rs...

Perdoem os erros, ok?!?

Espero opiniões e sugestões!!

E críticas tbm...

rs

Bjoooooos

EDIT

Meninas....

Disponibilizei o video numa qualidade melhor aki ó

Thought i'd make a tutorial on how to create your base for eyes-making in PS.

I've been dealing with copybotters a lot lately, so maybe this will encourage them to learn.

Or maybe anyone who's ever dreamed of creating eyes, but never knew how to start. xD

The tutorial is divided in 4 parts. I made sure it was easy to follow.

Here's the link

<3

When the worldwide Covidcorona shutdown happened, I decided to take my best photography tutorial from store.stuckincustoms.com and make it FREE so people could learn from the Beginning Photography videos while they were all cooped up. We just checked Shopify and we gave away $125,000+ worth so people really seem to love it! Anyway, this is a last warning that it will only last another 24 hours... so get on in there if you haven't yet!

Unnamed desert formations deep into the nether-regions of Utah during the annual monsoon.

As always, thanks for scrolling far enough to see my dumb little picture. If you are interested in learning how I create my dumb little pictures, reading my dumb stories or seeing more dumb photography, you can head to www.ryandyar.com or check out the link in my profile. Email subscribers get free video tutorials monthly. ❤️

Someone was asking me lots of questions about mohair and asked for a tutorial on how to actually reroot it and everything.... the ones I recommended they didn't find helpful apparently, so I made one for them.

iamlily, this is your blythe's scalp, it's famous! :P

So Wedge, how can you do yourself and possibly others out of business?

Big

I've posted a tutorial on how I photoshopped this image on my blog at cymagen.blogspot.com/2007/01/anatomy-of-psd-part-1.html

I made a picture tutorial for creating this image. It was done digitally in Paint Shop Pro X. I made the tutorial for my Smudgepainting group here on Flickr and for all my Digitalnuts friends.

www.pbase.com/skyopal/image/80599990

This is actually really old but yesterday I noticed I never posted it, so here it is, a tutorial on light stencils.

www.youtube.com/watch?v=k9A9H41u9wk

www.noctography.co.uk

Several of you guys requested a tutorial, so here it is: www.brickbuilt.org/?p=5064

Our latest tutorial on brickbuilt, covers these 5 tree designs all used in my Amon Hen build.

I have told you about GIMP, a free Image Manipulation Program. It works really well, and I´d say as well as Photoshop, and the bonus...IT´S FREE!

I took the originals of few of my photos that I´ve manipulated in Photoshop and re-did them in GIMP, getting the same results.

But as always, it´s best to start slowly and get to know the program and first of all, learn how to download GIMP. For those of you who don´t have gimp, here is a link to how to download it:

www.flickr.com/photos/soffia/2339766783/

The tutorial with explanation images is here: www.soffia.net/gimptutorial02.html

1. Select from the menu: File → Open and choose the Image you´re gonna work with

2. Select from the menu: Colors → Brightness-Contrast...

3. Drag the slider up to 20 or write the number 20 in the box next to contrast. Click OK. Play around with different numbers in both brightness and contrast.

This tutorial is done in Photoshop CS3, and you need some basic knowlegde to follow it. The numbers are the exact ones I used.

Step by step snapshots at www.soffia.net/tutorial.html

1. I duplicade the layer twise, on one layer I erase out carefully the mountain with soft eraser, opacity 100 flow around 60. (you can also use masks) One layer is just to have the photo as it is.

2. Name the layers ( image01) mountains, clouds and just_in_case_layer.

3. Go to creatae new fill or adjustment layer and choose Levels. (Image 02) I tweeked the 3 arrows untill I got 8 ~ 0,73 ~ 200

4. Go to creatae new fill or adjustment layer again but this time choose Brightness/Contrast. and put in -12 for brightness and contr. -28 (Image03)

5. Go to creatae new fill or adjustment layer again and choose Hue/Saturation. (Image 04)

take up saturation to 22

6. For now, I´m fairly happy with the mountains, so now I drag the Clouds layer on top of all the layers. (Image 05)

7. Then I merge the mountains with all the adjustment layers by selecting all the layers, and choose merge layers (Image 06)Name the Layer mountains again if it´s called hue/saturation.

8. Now we can work on the clouds, you can turn off the mountains layer by clicking on the eye on the left. Go to creatae new fill or adjustment layer and choose Levels. (Image 02) I tweeked the 3 arrows untill I got 18 ~ 0,84 ~ 215

9. I want a little more contrast in the big cloud so duplicade the clouds layer, name it cloud-contrast go to Image - Adjustment - Levels. Use 59~ 0,64~ 195. The reason why I choose levels from there is cause I only want it to affect the new cloud layer(Image 07)

10. with the cloud-contrast layer picked, go to Image - Adjustment - Brightness/Contrast and put brightness to +36 and contrast +17

11. I find the cloud too red, so go to Image - Adjustment - hue/saturation, in Edit: choose

Reds and take the saturation down to -42. After that I rease around it so the layer would look like this (Image 08)

12. Let´s go to the Clouds layer again, Go to creatae new fill or adjustment layer and choose Brightness/Contrast. put in +45 for brightness (Image03)

13. Go to create new fill or adjustment layer (Image 04) and choose Hue/Saturation. In Edit:

Blues hue: -13 sat: -67

Cyans hue: -10 sat: -57 (or tweek the numbers untill you´re happy with the colors......)

15. Merge the layers by selecting Cloud-contrast,clouds and the all the adjustment layers(image 06) (you can also select the layers and hit Ctrl + E )

16. Turn on the Mountains Layer. Flatten image. Then I did some more adjucstment with hue/sat, cyan -9 and -39 then blues -4 and -22 and Yelloes -35. And then I went to levels and did 8 ~ 1,16 ~ 255.

17. Then I put the lomo gradient fill with 40 % opacity on that layer

I did use the clone stamp to erase out a part of the sky, the dark bottom part... :P

And finally I ran it through Neat Image, a software I bought the other day. neatimage.com/

I could probably spend another hour tweeking and tuning. But let´s say this done for now.

This Bunny was based on this tutorial: tutsplus.

It took me a little while - and now I see that I have chosen the wrong export cmyk instead of rgb. UPDATED: its changed back to the right colors :-)

Hey everyone. Here's a basic tutorial for the wall technique that you can find in my Wizard's Gate build.

1. Start with a row of headlight bricks attached together. This row can be as long as you want the wall to be.

2. Place one plate on the front-most headlight bricks and two plates on the bricks that are further back. add headlight bricks, alternating studs on the back row and 1x1 tiles on the front.

3. Attatch 1x1 with one stud out to the headlight bricks and 1x1 bricks to the studs left on the front row.

4. Add alternating clips on top of the front row as seen in the picture.

5. Attach 1x1 and 1x2 plates onto the clips leaving a small gap between each to achieve a stonework effect. In long sections of this wall, you will run out of space to slide the 1x2 tiles along the clip to acheive the horizontal gap. But that's ok! Just skip one stud and continue the pattern with the clips attached to the other side of the 1x2 plates.

6. You can achieve a streamlined base to the wall using a bracket or any other half plate offset and three plates on top of that. The wall is 3.5 plates out from the headlight bricks and 7 plates above the initial starting plate. Feel free to use your own brickmath to close those gaps, I just showed what worked for me.

Hope that this helps anyone who was wondering how the wall was constructed. Feel free to try it out for yourself!

Tutorial.

Duplicate layer, right click on layer and choose duplicate layer, name it 01.

Now you have 2 Layers, called Background and 01. Make sure the 01 layer is chosen.

Go to Layer - New Adjustment layer - Brightness Contrast. brightness 0 contrast +17

Go to Layer - New Adjustment layer - Levels - the numbers are 12, 1,00, 215.

Now I´m happy with the sky for now, so now we´ll fix the rocks in the forground.

Duplicate the Background layer, name it 02, and drag it on top of all the layers.

Go to Image - Adjustment layer - Levels ( nb, now go to IMAGE not LAYER) Set it to 17 , 1,91 , 196

With the Erase tool(or Masks) erase the sky and the hill.

Go to Layer - New Adjustment layer - Hue/Saturation. Choose:

Cyan, -18, -31, 0

Blues, -16, -23, 0

And finally I put a little lomo vignette ( how to? you´ll find that here www.flickr.com/photos/soffia/1398672858/in/set-7215760238...

The opacity on the vignette layer on this photo here is 50%

Blogged Here

Tutorial: buttercakes.squarespace.com/blog/2009/6/28/houndstooth-fe...

Ever wondered how to build good tudor style walls?

Check out our latest tutorial by Titus V. on brickbuilt.

In this advanced Photoshop tutorial I will show you how to create a nice floating woman in a forest. We will turn the forest from day to night effect in Photoshop and we will mask the sky using Calculations. We will create realistic depth of field using a Depth Map and we’ll paint realistic hair and light effects.

Tutorial here: www.psdbox.com/tutorials/fantasy-photoshop-tutorial-float...

Created for the Magnificent Manipulated Masterpieces

156th MMM UNDER THE SEA THEME Challenge

Tutorial. www.rafy-a.com/2017/04/the-bottle-photoshop-photo-manipul...

I create this image in my new video tutorial. It's all about Giants ;)

I shot the background in Dubai and the models in the studio ;)

If you like to see more: tutorial.adriansommeling.com

TUTORIAL ♥♥

A lot of people asked me how special shaped bokehs are done. I decided to put together a tutorial and explain things in details.

This is a single shot out of the camera! Nothing was added in Photoshop.

Special thanks to Tony who helped me with the picture formatting!

#28

I was really looking forward to this Macro Monday, as I've been meaning to have a play with my little (2") turquoise glass bottle.

Watched an internet tutorial on lighting, which helped. I think we can probably guess where the inspiration came from (our own 365-er Mandy Willard)!

Viewed through the shoulder of a cider flagon, with white surface and background, and black boards either side, with flash behind the bottle, reflected off the backdrop from each side. This was the most abstract version I shot, and I preferred it for that reason.

Still need to work on lighting glass, but fun was had!

Step 1 - Taking the Image

When I first started off using my DSLR, I knew diddly squat about camera settings, auto-bracketing, manual mode etc...

Experimenting with different settings, looking at various tips and tutorials have improved my knowledge vastly on this.

So here we go then…Firstly there are two main ways to create the source images needed for HDR.

- Autobracketing

- One raw image

Autobracketing:

Most DSLR camera’s have the ability to bracket multiple exposures. This is simply a way to tell the camera to take several shots in quick succession, each at different exposures. For example, in this image a -2, 0, +2 setting was used to take three shots.

When deciding on how many auto-bracketing exposures to use, you will need to consider the contrast range of the scene. If there is a higher contrast range, consider using a wider bracket setting.

Now this may not be possible on some cameras. My own Canon 400D only has the ability to bracket 3 shots, but some cameras are able to go as high as nine. Normally 3 exposures are suffice for me when shooting in interior locations, such as churches and other buildings.

When I do need more than 3 exposures, I normally take auto-bracketing off in Aperture Priority mode and fire out 5 or more shots by manually changing the shutter speed each time.

One RAW image:

The other way to produce the 3 shots needed is to take 1 photo and adjust it in a RAW editor such as Lightroom, Aperture or any other one you may use.

The main advantage with this is that you can produce a HDR shot with moving subjects such as cars and people. The downside from experience is that if an image contains dark shadows, the exposure adjusting followed by the HDR process has a tendency to create a lot of noise. The other thing that is debated quite often is that by taking 1 raw image, it doesn’t truly capture the full dynamic data range of a scene.

Camera Settings

-Shoot in RAW – it allows you to capture more dynamic range data than using JPEGs.

-Use a tripod. In some places this can be difficult, especially in churches. Alternatively, try and find some kind of ledge, bench, stack of books or take up an awkward stance and take the image handheld.

-Use Aperture Priority mode on your camera. As you will be combining several images into one, you don’t want your Depth of Field (DOF) to change between shots, as the final image will appear all out of focus.

-Keep the ISO setting to the minimum. The higher the ISO setting, the more noise it will generate. I try to keep mine at 100 whenever I can.

* You can enlarge any of the screenshots below, by clicking on the image and following the high resolution link from there.

** Update: I have loaded the 3 original hi-res exposures for you guys/gals to experiment with. Click on them below and then save. Have fun and it will be great to see what you can come up with.

Exposure 1

Exposure 2

Exposure 3

*** Update 2 - Be sure to check out my latest tutorial which focuses more on the post processing techniques in Photoshop. You can find that tutorial here.

Just wrote this for a friend and figured I might as well share it with everyone :)

I made this tutorial for my contacts who requested it after seeing Radiant. I didn't have the time to blur the sunset image in exactly the same way...but you get the idea. I used GIMP to edit this.

Okay, so if you don't want lightness lift, if your background is already a solid color (such as a clear blue sky), and if your image is already dark enough and you don't need to make it more bold, then you can start at STEP 5.

1. Original image

2. How to Add a Gradient

---a) Make a "new from visible" layer: Go to your "channels, undo, layers" box, and right-click your image thumbnail. At the top of the bar that pops up, should be "New From Visible". Select this. A new layer should appear above the old thumbnail.

---b) Add lightness lift:

*In your toolbox (which is the box on the left of your screen), there should be a tool called "Blend Tool". When you click the blend tool, the bottom of your toolbox will change. You must make the settings say:

Mode: Overlay

Opacity: 100%

Gradient: FB to BG (RGB) ***and make sure the box beside the gradient has a check mark in it

Shape: Radial

ALSO make note of the colored boxes just above the half-way mark in your toolbox. Black should be the front color, white should be the rectangle of color behind it.

THEN, click the middle of your image, and hold down the mouse while you drag your cursor to any outside corner of the image. Your gradient should appear.

3. Make another "New From Visible" layer. If your image has clouds in it, blur them in using the "Smudge Tool" in your toolbox.

4. IF YOUR IMAGE IS OVEREXPOSED (like mine is):

Make another "New From Visible" layer. Just above your thumbnails in the "Channels, Undo, Layers" toolbox, should be a grey square with a downwards arrow in it. (Between Mode and Opacity) Click it, and select multiply. This darkens your image.

5. Open up your sunset picture. Go under File --> Open as Layers--> and select your image to open it.

6. Your image should appear as a layer on top of the others. Just above your thumbnails in the "Channels, Undo, Layers" toolbox, should be a grey square with a downwards arrow in it. (Between Mode and Opacity) Click it, and select EITHER "Hard Light (like I did) or "Soft Light" (if you want less of the sunset to show though).

7. Using the smudge tool, blur any parts of the sunset that are on top of your main subject, or are too sharp.

8. Make another "New From Visible" layer, and add some color curves

Neist Point, Duirinish, Isle of Skye.

A portrait telephoto view of the landscape version below. Not sure which one I prefer, so I kept them both.

www.karlwilliamsphotography.co.uk

See www.karlwilliamsphotography.co.uk/tutorials for a tutorial on the use of the NDx1000 filter for long exposures.

blogged @ www.superziper.com

foto : sinhana

I used a wooden thrift store plaque as a base and added cereal box cardboard details. Coated in gesso, painted with chalk paint, aged a bit with brown wax and added a door knob.

It is a little short, but works ok for Blythe in a diorama.

Gostaria do tutorial destes box, para passar para uma amiga muito querida Lelê Ceschini, se alguém tiver, agradeço!

bjos

This can be done in 2 ways. The Vanishing Point Filter is one way and there are dozens of Tutorials to show you how. But the much simpler way is to put your background and type on 2 layers. Then go to Edit, Perspective Warp. You will see two modes on the top left corner of your screen one says Layout, then other says Warp. Be sure you are on the Text Layer.

With the Layout screen you can make your Panels to go around your text. Be sure you have a straight line on the divider. You can move these anywhere to cover your text. Make another panel for the other side, start it very close to the first panel. When you are done just join the Links to combine them.

Then clip on Warp. Nothing happens. but now when you move the panel links you can line up your type perfectly on the lines.

When you finish if one side didn't line up quite right go back to Perspective Warp and make another Panel and move it.

This is a much simpler way to accomplish the same result.

I was hoping to put this tutorial up a while ago, but never got the chance to complete it until now. I received a lot of requests from people who wanted to know the workflow on the Times Square image(below). It’s fairly similar to my previous tutorial (the first few stages relating to the camera setup and Photomatix processing are pretty much the same), although this one concentrates more on the post processing in Adobe Photoshop.

If anyone wants to practice with the original images, let me know and I’ll upload them. You can see my original HDR tutorial here.

* You can enlarge any of the screenshots below, by clicking on the image which will take you through to the larger image.

The tutorial can also be found over on my blog http://blog.sandmania.co.uk.

Read it now on Brickbuilt.

Tutorials | Creations | Featured Tutorials | Build Logs | Commissions

Hacim Bricks shares his clever pine tree design in this tutorial.

Working on a temple and decided to add an interior. Wanted to play around a bit with the floor and found some inspiration looking at -LittleJohn and Katie Walker’s work so I decided to make a tutorial :) Hopefully some people will find it useful. The full build should be done fairly soon so stay tuned ;)

Okay, so I made this tutorial a while back, and I shared it on my Facebook MOC page.

I've got the link to the rest of the tutorial below!It's relatively simple and decently sturdy. Plus, IMO it fits in pretty good with an Oriental setting. :)

Enjoy and God bless!

www.facebook.com/LEGObyNelson/photos/pcb.1083726751661965...

Drawing of a cave woman laying in my bed :)

NEW VIDEO! iPhone Photography Tutorial: Lippen - Surreal Portrait #04 #video

Check link on my Instagram profile for my channel. OR here’s for direct link to video: youtu.be/Ok9e_PtsUGU

Enjoy!

#surreal #icolorama #superimpose #lensdistortions #mextures #iphoneart #mobileart #iphoneonly

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#instagram #mobileartistry #shotaward #artsick #fineartphg #expofilm #enter_imagination #graphicroozane #thecreativers #manipulationteam #moodcommunity #launchdsigns #milliondollarvisuals #imaginativeuniverse

#iphoneography #iphone #photography

Image created for a tutorial.... inspired by the amazing James White... signalnoise.com

Check the tutorial out at abduzeedo.com/really-cool-eclipse-effect-photoshop

These are the tutorials I managed to put together during 2018. Not that many, but still a number of them. Most of them were nature themed, and about half of them were a result of my Element Experimentation builds.

Making tutorials is a rather different experience as compared to normal building. It takes a great deal of time and effort to put a tutorial together, compared to making regular builds. You have to take many pictures, think through the flow of the technique and write good descriptive texts for each picture. Tutorials also play out differently on different platforms, so often you have to create multiple versions of the tutorial to fit the platforms you post on.

Also, for me, pretty much all tutorials I make are of techniques I've already showcased in builds before, so tutorials doesn't bring anything new to the table - it just shows how a previously used technique is made.

These two things combined makes tutorial making more of a chore than fun, to be honest. It's a lot of work and it doesn't result in a nice new build. So why do it?

I have personally learned loads from tutorials made by others, and so I have reaped the benefits of their hard work with very little effort on my side. So, making tutorials of your techniques is a way of contributing back to the LEGO community. It may not be the most fun, or get you the most likes or comments, but it's still a satisfying experience knowing that you have given something back.

And of course it puts a smile on your face when you see people starting to use your techniques in their own builds :) I have noticed that both my spruce techniques are seeing quite some use these days, so that's something I'm really happy about :)

instagram

fullplatebuilds.com

via WordPress ift.tt/2dYiHPX

Full color photo tutorial over on Moda Bake Shop:: www.modabakeshop.com/2011/02/sunkissed-squares.html

Picture II

For those who did not see the first picture...

This is going to be my first visual tutorial about consciousness and awareness.

It is very easy because the pictures will speak for themselves.

Without words you will understand, what it all means.

Maybe you discover something very important for yourself... :-)))

If you like, ask yourself what you see and how you see.

Next picture tomorrow.

HKD