Monday, February 21st, 2011

Replacing skies in Photoshop

Reader Michael P. recently sent me an image he’s been working with – his challenge was to replace the sky in the image. The problem was that in replacing the sky the image had ended up with a lot of halos around the edges making the sky replacement look less than believable.

Kindly Michael sent me some of the images he wanted to work on to explain how to fix them more realistically.

This is the building we’ll work with:

Here’s what I did:

Start by duplicating the background layer.

Drag the background layer from your sky image into your image – if you hold Shift as you do this it  will be positioned in the middle of the image.

Move this layer so it is over the blown out sky.

Move the sky layer so it sits between the two image layers.

Select the topmost layer of the image, select the Add a Layer Style icon at the foot of the layer palette and select Blending Options.

In the Blend If  area locate the This Layer bar and drag in from the right hand side of the bar. To split the adjuster in two, hold the Alt key as you drag one marker away from the other.

If you have a really blown out sky set the right side of the marker at 255 and the left side at a value that gives you a good blend effect for the sky – such as 248 or so.

Each image will require different settings.

Look at the result and see if the sky that you’ve brought in really suits the image.

Unfortunately I don’t think this sky works particularly well for this image and the image needs something a lot less dramatic.

Here is a sky from my own collection which I think will work better.

I dragged it into the image above the first sky layer but under the second image layer. The original Blend If adjustment settings work just fine with this sky so there is nothing more to do there.

However, there are still problems along the skyline. These can be easily fixed by lightening the sky which I think is still way too dark for this image.

Select the sky layer and choose Image > Adjustments > Levels. What I am looking for here is to lighten the sky so that it blends in more with the image and looks more like it belongs.

Having lightened the sky, you’ll can further blend it into the image by adjusting the opacity of the sky layer down a bit.

Because the original image is underneath the sky as well as on top of it the effect of reducing opacity is to blend the sky into the underlying image.

If you find some bleeding of the sky into the buildings you can add a mask to the sky layer by selecting that layer and click the Add Layer Mask icon at the foot of the layer palette.

Paint with black on the mask to remove any blue sky in lighter areas of the building.

Typically if you find that you’re getting distinct over-lapping of sky around the edges where the blown out sky meets buildings or other elements in the image, the problem will be that you’re trying too hard to replace the blown out sky with something that is too much sky for the image.

You’ll get a better result if you work with a much lighter but still interesting sky.

If you find that you have some very light elements in the original image that are showing white fringing over the blue sky you can avoid these by placing a portion of the sky with white clouds in it under these areas to minimize the obvious white edges.

Helen Bradley

Monday, July 13th, 2009

Summer – 10 cool photo ideas

It’s summer time and if you’re a creative photographer you might be wondering just what to shoot. Look no further, here are some cool ideas for topics for summer photography:

1 Perfect Sunsets


The optimal shooting time in summer is in the early morning and the early evening at sunrise and sunset. At these times of the day the light is much softer and it has a pleasant color cast to it which will warm the image.

To take advantage of these light conditions set your camera’s white balance setting to full sun – do not allow it to sit on Auto White Balance or the camera will remove the beauty of the color of sunset when it attempts to neutralize the color cast in the image. Setting the camera to full sun which doesn’t have a color cast means the camera won’t adjust the image so you’ll get great sunsets and sunrises.

2 Water reflections


Some of the best summer photos can be captured by looking down rather than across a scene. The reflection in the water as it washes over sand can give spectacular and unexpected results. Even objects set well back from the water can be caught reflecting in it.

If it is safe to do so, position yourself where the waves break over the sand facing back up the beach – make sure you have a good stretch of wet sand in front of you and check to see what reflections you can capture.

3 Capture running water
When you are shooting running water such as a fountain or a waterfall you have a couple of options for capturing the water. If you use a fast shutter speed you can freeze the action. You do this by adjusting the manual settings on your camera using the shutter priority setting (indicated by a T or TV setting). Set the shutter speed to a fast setting such as 1/250 or 1/500 of a second to freeze the action. When you do, you will see water drops in the fountain or waterfall.

On the other hand if you use a slow shutter speed – for example, 1/10 of a second or less you will get a silky even flow in the water. The slower the shutter speed the more silky the effect will be as the camera will capture the movement rather than freezing the action.

Experiment with different shutter speeds to get different results. Be aware that slow shutter speeds will require you to use a tripod to steady the camera. As a rule of thumb, the slowest speed you should handhold a camera at is 1/focal length of your lens so, for a 200mm lens anything slower than 1/200 second should be captured with a tripod.

4 Fairground fun


Summer is a great time for county and state fairs. Even if you’re not someone who rides the rides you can still capture all the color and fun of the fair. Look for creative opportunities such as capturing the Ferris wheel at night using a small aperture such as f8 and a long exposure will let you pick up the light trails in the Ferris wheel as it turns.

The carousel is also a good place to capture some stunning close up images. If the kids are riding fast rides use your motion capture skills and a fast shutter speed and move the camera with the movement of the ride to capture the kids clearly and blur the background attractively.

5 Fireworks


Summer and July the 4th are synonymous with firework displays. To capture fireworks you will need to turn off the camera’s flash and set it to a long exposure. Set the camera on a tripod and out of the way of bright local lights which will ruin the effect because they will provide light at the expense of the fireworks themselves. Set the aperture to a value of f8 or f16 and experiment with different exposure times to find something that gives you a sky full of fireworks color.

6 Nighttime lights


Good weather is a good excuse for getting out in the evenings and carrying your camera is a must do. With the light lasting until quite late in the evening you have good opportunities for capturing a mix of nighttime lights and activity. Set the camera on a tripod and use the flash curtain settings and a long exposure to capture the background night lights with the flash lighting the subject close to the camera.

Most cameras let you set the flash curtain so it either goes off when the shutter opens or just before it closes. Depending on the effect you want to create, you can place a subject close to the camera and light them with the flash. Because the shutter remains open, you will then capture the detail in the lighted scene behind them which would otherwise be black. This way you can capture two different types of images at the one time.

7 Window seat


When you’re flying across country and if you have a choice of seats make sure to get a window seat on the side of the plane that is not looking directly into the sun. This way you can capture images from the airplane window. Avoid using the polarizing filter on your camera in these circumstances or you’ll get funny rainbow colored reflections on your images. Everything from a summer thunderstorm to patterns in the landscape make for wonderful photo opportunities.

8 Build your sky portfolio


The photos you shot in fall, winter and in inclement weather typically lack the crisp blue skies you see in summer. Summer, therefore is a great time to capture great skies to add to your skies portfolio. Then they’ll be ready for you to use later in the year to replace the poorer skies in your other photos.

To build your skies collection, take time every time you’re shooting to look up at the sky. When you see an interesting sky whether it be a crisp blue sky or one peppered with clouds, photograph it and store these images in a special skies folder. Later in the year when the skies are lackluster use these skies as replacements so you can produce photos with wonderful skies all year round.

9 Capture silhouettes
Summer is a great time to capture silhouettes because of the very bright light and long twilights. The essence of a silhouette is placing your subject in front of a bright sky or a sunset or sunrise. You’ll want your subject to be in deep shadow with the rest of the image properly exposed. This is one time you’ll turn your camera’s flash off so it does not fire.

With the subject between the light source and the camera, take the shot and check to see if you’ve got a good silhouette or if the subject is still too well lit. If the subject is too light, use the camera’s exposure compensation to underexpose the shot by setting it to a negative value. Reducing it to even as little as -0.5 will be sufficient to get a darker silhouette and still have the sky nicely exposed. Good subjects for silhouettes include palm trees in front of sunsets, striking elements such as a person’s profile in silhouette and even masses of electric light wires can make for an interesting image.

10 Capturing harsh light


One of the downsides of shooting in summer is the harshness of the light. Because the sun is in the same hemisphere and overhead the light is very crisp and very bright. Shooting at midday is fraught with difficulties because you’ll get areas which are very bright and some which are in deep shadow.

On the flipside, this is a good opportunity to capture images which make the most of the mix of light and shadow. Instead of looking at the scene itself, look for the play of light and shadow and for interesting shapes and patterns in the shadows cast by objects such as trees. It’s a great time of the year to capture creative images which showcase the harshness of the light.

Helen Bradley