I was given the opportunity to try a new plugin for Photoshop by Red Giant Software called “Knoll Light Facotry for Photoshop”. It’s a pretty nifty plugin that gives you access to over 100 preset types of flare and lens reflections. These open up a new creative angle for your images. They can add a whole new dimension or they can enhance flare already there. You can even build up your own presets using custom elements and settings. The claim is that the effects are based on real physics and I have to say that as a non-physics major, I think they look really good. You judge for yourself.
Some of the product highlights are:
- Plugs into Photoshop CS3, CS4, CS5, Photoshop Elements 7.0 & 8.0
- Support for 16-bit color rendering
- Works on 32- and 64-bit Vista and Windows 7 systems as well as Mac OSX Snow Leopard
- Plugs into Photoshop CS3, CS4, CS5, Photoshop Elements 7.0 & 8.0
- Support for 16-bit color rendering
- Works on 32- and 64-bit Vista and Windows 7 systems as well as Mac OSX Snow Leopard
Here is a screen shot of the user interface in CS5 Photoshop. You can see that it’s very clean and easy to understand. One of the best features for me is the real time preview of the effect as I dial in different adjustments or add/delete elements of an effect.
The system requirements are pretty easily met by any recent OS and hardware. For my demo, I used a MacPro dual quad workstation with 14 gig of RAM. I did run LR3 and Cs5 in 32 bit mode to get a better handle on how the software would perform under memory constraints. The performance was very good, no slowing that I could detect and no stability issues of any kind.
Apple Macintosh
Mac OSX 10.5.8 and later
Intel Mac
1 GB of RAM
30 MB of Hard Drive space
PC / Windows
Windows XP 32-bit/64-bit
Windows Vista 32-bit/64-bit
Windows 7 32-bit/64-bit
Intel or AMD processor 1.6 GHz or higher
1 GB of RAM
30 MB of Hard Drive sp
For this demo, I used and image I shot at Disney’s California Adventure of a Dobro player. The lighting was good and bad, good that it was shade but bad in that the shade did not do justice to the chrome resonator of the Dobro. Enter Knoll Light Factory. I used Lightroom 3 to dial in my basic adjusts which were a preset called “Heritage” from Power Work FLow 3 , fill light, contrast and dialing down the red channel a bit. Nikons run a bit hot on the red channel and I almost always bring it down a touch. If you have not seen PWF3 from Seim Effects, you should check out Gavin’s work. Also, his podcast is pretty cool so check them both out.
Once I had the basic edits in place, I opened CS5 Photoshop and loaded up KLF. What I wanted was a starburst flare on the chrome, it would be a low key effect but very effective at drawing attention to the metalwork.
Here is the basic image before I applied the KLF effect.
And here is the image after the effect as been applied. The effect took less than 2 minutes to decide on, place, adjust and save out. Now you would be very hard pressed to know that I was in total shade shooting this.
After working with the plugin for a few weeks now, I have to say that I’m pretty happy with how easily I can add/enhance flare in my images. One must like flare in images to really enjoy this plugin so it’s not for everyone, I mean, after all, major camera makes spend alot of money to PREVENT lens flare but there are those of us artists who really like it and will use it with abandon given a chance
So whether you are an artist of flare or curious, I would suggest to get the demo and try it out.
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So I survived Vegas with it’s 30 dollar lunches, 25 dollar shots of Scotch and my cheap room at Mandalay bay. I guess it all balances in the end since I did not give a nickel to the slots. The keynote was awesome, the Tweet up was alot of fun, the Expo was crazy good fun and I did sneak out early because of the holiday and trying to fly home on Friday.
I split my time with several class this time. I noticed that in 2007 which was the last time I was there at PSW, I saw 95% software based classes. This time, the tracks were split between real photography classes and software like Painter, Photoshop and such. I ended wishing I could attend them all but settled on a mix of classes
My preconference class was “The Art of the Digital Canvas” with Faye Sirkis and I had high hopes for the class since I really wanted to see how to make CS5 work with the new bristle brushes. But, the class fell short of my expectations between a lack of real meat in the class and technical issues with CS5. The good news is that was the only class that fell short in my opinion. The two classes I took with Joe McNally were awesome to be in and Joe has a very good sense of presentation with humor and solid information. I took a Fashion Portrait class with David Cuerdon who I found relatively recently on Kelby’s training site and have decided that I really, really like his style and teaching methods.. The fashion class was a wealth of info on how to shoot and more importantly, retouch the shots effectively.
Zack Arias did a couple of classes but the one I went to was “Stuff you need to know to be a photographer” and as always, Zack did a bang up job of getting down to the nuts and bolts of being successful as a photographer and to figure out what is really important to you and and your craft. A hint, passion only gets you so far as a photographer.
I did the concert and event photographer on something of a lark and it was very interesting to hear how it works behind the scenes as it were. Also the choice of gear, how to get the pass and what to expect as a photographer at a concert. Alan Hess did a very good job at showing the class the real world of Concert photography and proving that yes, you can have fun while working for a living
Here are some random shots from the trip. I split my shooting between my Canon G11 and my D300. Both worked well but the Canon struggled with the low light in the classes. The D300 would work but only but shooting at 2.8 with ISO 3200 or 6400. I was really wishing for a FX camera and ISO 25,000
The NAPP Keynote was completely shot using the G11 and it did very well considering I had the zoom maxed out and the lighting was so bad. The class shots of Joe McNally were taken with the D300 at ISO 6400.
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The vendor, Westcott, sell various lighting and light modifiers to photographers and studios. They are a constant vendor at Photoshopworld and other Photography related shows. One of the most popular features of their booth has been the model shoot where a rep will demo product using a live model and then allow photographers to try their hand at a fast shoot using the same setup and equipment.
I think they just raised the bar in a big way by having four “sets” set up where they had live models and at times a still life available to shoot using the Westcott equipment. There were simple rules, you could not touch the model or the lights but you could direct the model on how you think a pose might work. This time you can submit your final images to be a possible catalog cover.
Popular? You bet!!! They had photographers coming out of the woodwork with everything from the high end Canon/Nikons to the cell phone with any number of camera in between. it was amazing to shoot and even more so just to watch. It was pretty clever in a way since you can only really make the photograph yours by model position and post work. Since the lights were fixed, you had to move the model to change the mood and you had to use some solid techniques in post to “fix” things like lights being in the image, fashion model fixing, getting rid of backdrop seams and so on.
Here are some of my shots along with a description of what I had to do in post to get to the finished or close to the finished image. Most of what I did to these images is not much different than what I do in my wedding shoots or portrait sessions here in my studio in Orange. When I shoot, many times I know when I take the shot, that I will need to do something in post like removing something or enhancing the bride and so on. Sometimes I make a mental note that a certain picture will need something specific because I know it’s a cool shot but needs editing to make it cool.
Here is my Catwoman shot in the raw. No retouching, no post of any kind except to convert it from camera RAW to JPEG to post here on my blog.
You can see from the above shot that there is quite a bit of work needed in post to make a usable image. There is a light in the upper left, the bike is on carpet, the background is too short and does not touch the carpet just to name a few things. Here is the final version or very close to my final version of Catwoman
I edited out all the extra stuff like the lights and reflector panel. I used content aware fill and free transform to stretch and edit the background. I used the Lightroom Graduated Filter with a blue tint to darken and add mood to the background. I added a concrete texture to the carpet to make it look more like asphalt. I did a fair amount of selective burning in like the front rim of the bike which was too bright. I tweaked the intensity to get the deep reds and dark blacks. I added a dark vignette around the image to help blend in the transition between backdrop and carpet. I think it turned out pretty well
In the next shot, we have a retro looking “Pin Up Queen” but we need some work here too. There is a red fabric that is competing for attention, we have tattoos on the model and we have some unsightly bulges on the bustline and arm.
And here is my final image after using several tools and some hand work.
I used liquidify to smooth out the bustline and arm. I used Portraiture to smoothout the skin and give a glamor look to the over all image. I removed the red sash hanging down in the background and I removed the tats showing on each arm.
Here are some of the rest of my shots from the Westcott model shoot. Westcott even had a couple of still lifes for those who do not like shooting people. As you can see, many times you need good post processing to really bring out the best of a picture whether it be a still life, a fashion shoot or even a wedding. I’ve seen good images with bad post processing and they just do not work well. I’ve seen marginal images but with excellent post processing and they work pretty well. Taking the shot is just one step to having a killer image as the final result. Ansel Adams was a master of this and understood clearly that the raw image was only the first step to showing the world your vision.
Thank to Westcott for putting all of this together and letting the photographers have alot of fun over the past three days shooting gorgeous models on fun sets.
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