Here is a list and links to many of the sites I have used to learn about different apps and techniques. iPhoneart.com – on this and other sites like it, many of the artists share what apps they used to…
This is the last video on image organization. This time I am using Lightroom, which is the program I primarily use when uploading my images. I have really only skimmed the surface on this topic, and like everything else in…
This video demonstrates the steps to take if you use Elements to upload and organize your images. If you use Adobe Bridge, click here: Bridge I have to admit, this was the first time I ever explored this subject in…
Pretty sure this is one of my longest videos. There is a lot of information and I tried to go slow, but if you have no experience with Adobe Bridge, you may want to watch this a few times. I…
Here are a couple of videos demonstrating hand coloring in Photoshop CS5 and Elements 9.
Even if you are using Elements, watch the CS video first and then the Elements version. In the first video I share a very simplistic and basic explanation of masking as it relates to digital hand coloring. The whole subject of layer masks is quite a bit more extensive than my description, but for this topic, it might help you understand the concept a little better.
I mention in the first video that one of the reasons I sometimes use these techniques, is that it gives me a starting point for when I do hand color with the pastels. It’s cheaper and easier to experiment in the computer than on actual prints.
I tried to find some information on digital hand coloring using iPhoto, but was unsuccessful. I am not sure if you can do it in iPhoto, but if any of you know a way to hand color using that program, please share by commenting on this post.
Feel free to ask any questions by commenting here as well. Other people may have the same question so don’t be shy about asking….
Watch this video first:
Thank you so much for allowing me to share my passion for photography and hand coloring with you!
Please keep me in mind that I will be doing my best to keep this site up to date. As old products are discontinued and new ones introduced, I will be sure to make the necessary changes to the information provided here so all of it is current. I also plan to add to the “Inspirational” lessons as often as I can.
This is where I am also going to ask for your help.
- If you come across a video or link that is not working, please let me know as soon as possible.
- If I have presented any information that is simply wrong or outdated, please bring it to my attention.
- If you notice any “hiccups”, please also let me know. At the same time, feel free to share any suggestions or ideas you might have that will help the site run smoother.
This is a live site, so you may want to check it every once and awhile to see if something has been changed or added.
In closing, photography has deeply enriched my life and I celebrate and demonstrate my gratitude on a daily basis. It is my hope that the lessons I have shared here, help you (even if it’s just a little bit) to enjoy the world around you with increase awareness and passion.
Remember what I said in the beginning: Have fun!
Meet Leslie Nicole:
Leslie Nicole was a professional hand-colorist in San Francisco. She has given demonstrations and workshops for Kodak and has been a guest instructor at the Academy of Art College in San Francisco. In addition to her fine art photography, she has hand-colored for other photographers and clients. Her work has appeared in posters, greeting cards, retail stores, magazines, catalogs, and advertising. Today, she is the founder and creative director of French Kiss Textures, a resource for photographers and artists.
I came across Leslie Nicole and her work when I found her site French Kiss Textures (which I talk about in other lessons). We started talking via email and she shared that she had a background in hand coloring and that the way she approached her work with textures was very similar to the steps she took while hand coloring.
Leslie so graciously volunteered to share with us her background as well as helpful information about hand coloring and using texture layers in your work.
Thank you Leslie!
Back in the days before Photoshop, I was a hand-colorist. Today, I photograph with a DSLR and then manipulate my images with Photoshop filters and textures. This was a natural progression and I often reflect on how the techniques are quite similar.
Texture As Paint
With all the selection tools available in Photoshop, I usually choose to hand-paint my layer masks. I’m sure this is from my days of hand coloring. I’m used to spending the loving attention necessary for gentle, graduated blending.
Note: This hand-colored photograph of the little girl is by photographer, Laura Aldridge. I always loved working on her images. I hand colored a number of her images for projects such as greeting cards and the inserts to frames for Mervyn’s department store.
Next: Thank you!
A talented and passionate photographer, Joe has taken hand coloring with Pan Pastels and created his own unique style.
In addition to sharing a few images, Joseph also included some information about his process:
“On location, I take multiple images: I vary the exposure, depth of field, and also try to address the subject from different angles. This permits me to later select, composite, and position elements to create the working proof. I then finalize the look and feel of the image in Photoshop and Nik Color Effects Pro (I use Tonal Contrast with most images). The B&W is created in Nik Silver Effects Pro (I really like the effect of 019 Fine Art Process). Although both the B&W and color images look great at this point, the application of pastels over the B&W gives me the opportunity to select the color palate and highlight elements as I choose.
I have found Museo Portfolio Rag to be a great working substrate which takes the pastel nicely even though there is only modest tooth to the surface. Premier Art Shield does help to “set” the B&W image and minimize smearing.
Thank you Joseph!
Next: Meet Leslie Nicole
In these “inspirational” posts, I want to introduce some of the other artists that participated in Photo Artistry Workshop in the past and give you a chance to see how others are using the tools and techniques I have demonstrated to create their own style of original art.
In addition to images, Denise shared with me a little about how she found Photo Artistry Workshop and why she is interested in hand coloring photographs .
“I’ve been doing B&W digital printing for several years now and love the subtle tones and feeling of time gone. Noticing several alternative process artists using hand applied color really peaked my interest and, after not so successful attempts at applying pastel pencils to emulsion transfers, I started looking around for a process that would work for me. When I saw a link to Photo Artistry Workshop on a friend’s Facebook page (or was it French Kiss Textures?), I was all in. Hand colored digital prints! Online workshop! What could be more fun?
Working with the gorgeous Pan Pastels allows me to get a soft effect ranging from deep, saturated colors to a light, wash effect. I am excited with my first images and hope to see even better results as I gain experience.”
Thanks Denise! I love your work!
Next: Meet Joseph Rokovich
Depth of field is an important creative tool and understanding how to use it will greatly enhance your photography. This is especially true when it comes to photographing flowers.
Depth of field is the term used to describe the amount of sharpness in an image.
- A “shallow depth of field” means your subject will be sharp, but anything in the foreground or background will appear out of focus. This comes in handy when you want to isolate your subject from the background.
- Images with a lot of “depth of field” will appear sharp throughout.
Many of you probably already know this, but it can’t hurt to review a few basic terms and show some examples.
- Your depth of field is determined by your aperture (lens opening).
- A higher number such as F 22, is a small lens opening which provides for greater depth of field. (There is a scientific explanation for all of this, but it’s not necessary to know what it is to understand the concept. Let me know if you are curious about this and I will find that information for you.)
- Something to consider: While F22 will give you a greater depth of field, it is not always the sharpest aperture to use. If you stop down too far, diffraction may occurr. Diffraction is a loss of sharpness or resolution caused by photographing with small f/stops. Anytime you look or photograph through small holes you get diffraction. Squint your eyes – that’s diffraction! If you’re shooting flat subjects, the sharpest aperture is usually around f/8.
- A smaller number like F 5.6, is a large opening which will give you a shallow depth of field.
- Depth of field is also determined by the camera-to-subject distance. The closer you are, the less depth of field you will have. (See the flower example below)
- Keep in mind that your shutter speed is directly related to the aperture. A small opening lets in less light, so setting your camera at F 22 will require a much longer shutter speed.
- An aperture setting of F 5.6 will let in more light and decrease the amount of time the shutter needs to be open.
This is where a picture is worth a thousand words:
In a studio setting, determine how much of your image you want in focus and set your F stop accordingly. If you want to throw your background out of focus, set it at F 5.6 and get close to your subject.
When you are outdoors there are more variables to consider. If you want an image with great depth of field, setting your aperture at F 22 will increase the amount of time the shutter will have to remain open. This could be a problem if there is even the slightest breeze. The good news is, most of the time when you are shooting outside you don’t want a distracting background. You want to have your subject sharp and the background blurry.
Setting your camera to F5.6 or a similar aperture should allow for enough light to enter and give you a fast shutter speed, decreasing the chance that a breeze will ruin your shot.
The best way to understand all of this is to simply go out and experiment with it…………….