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Getting Back to Completing Year Old Work

I liked what I did last year when making designs for the Corvette. This is done with the trace edges feature of PS and a great deal of tweaking. Tweaking using Photoshop, of course. Of, course.


Vargas Studies

Original above.

Posterizing filter above. Adjusted many times. This is my favorite.

Stamp filter, dialed down to almost just lines. Something Picasso could do effortlessly and beautifully, expressing form with the least amount of lines.

Glowing edges filter above.

I forget.

Texture pattern example. Used as an underlay or an overlay.

Resit filling anything with a single image. Break apart somehow as here. Lower right hand corner will be filled in, however. But not the entire canvas with an unbroken fill image.

Photocopy filter of entire image.

Getting fancy with Photoshop Express. Or stupid.

A little video.

art Photography Photoshop posters

Pushing Pixels 13 – Another Take on Enigmata

Previous version

Another possibility. Here, I brought out the lettering, added the required lady in the clouds, moved their street sign to their front porch, and added one of the ambassadors from Hans Holbeins’s 1533 masterpiece of the same name. I thought of adding the owner to the foreground but she would have been too exuberant an element for the mood already established. Best to do that sort of thing for an upbeat version made from scratch; tough to get a contemplative and moody scene changed to sunny by dropping in sunny elements.

Lightened the turquoise colored sign. This is just a screen capture but you get the idea.

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More Pushing Pixels

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More on Photoshop Style Neural Transfer Filters

[NB: I do not own the copyrights to any of these images.]

Getting the results below previously required an expert hand or buying actions.

Actions are small programs that perform a number of steps in Photoshop on an image automatically.

If you wanted an image to look like a watercolor painting then you could buy an action to do that. It might go through 20 to 30 steps to get that look. Such as adjusting contrast to a certain point, setting the saturation, changing the brightness, applying a cross hatch filter and so on.

I find actions tough to install and work with. Every designer works with them, however, which has caused much of online graphic work to look the same. I prefer these filters to get similar results to actions.

These new neural filters provide two kinds of style transfers (internal link to more musings on this). Artist styles and image styles. After converting a monotone image to color, again provided by a neural filter, look at these two wildly different image styles. Both done with just one click.

This is the first time I think Adobe’s outrageous subscription fee for Photoshop is worth it.

Now, take a look at the custom style transfer filter. I’m using two photos I took today. I like the color scheme and the design of this Packard.

Here’s the original photo. It focuses on the strong grillwork.

Here’s the photo I want to transfer the car’s style to.

And here is the result. Something of the horizontal has been brought in.

Here is another original photo with more of the car as well as the foreground and background.

Here’s the transfer of style.

Notice how the gravel or sand texture has been brought in.

All of these were one click transfers. Several adjustments are possible before applying them.



NB: I do not own the rights to any of these photographs.

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Primitive Folk Art Made Possible by Photoshop

First time experimenting with Photoshop’s A/I powered style transfer filter. Bottom line? The filter I chose would best work with a landscape since people are more forgiving of an altered landscape than a human face. Still, after endless tweaking and multiple trial prints I wound up on the path I wanted to go.

Background: JCF has developed a recent obsession with Monica Bellucii. I produced a print for him from a 300 dpi monotone and he said it wasn’t striking enough. Agreed.

I tried to colorize it with poor results. I then tried something different with that black and white photo.

Her hair in a bun suggested Japanese prints so I picked one of two Japanese style transfer filters. The program produced a face more cubist and blocky than I thought right. That consumed a great deal of time to make a little more normal.

The original monotone was overexposed on the jaw line so I had to painstakingly put one in the suggestion of one. The program put in a warm tan or buff color in the background automatically, matching quite closely what I have seen in Japanese prints.

With this filter you can produce clumsy, amateurish traditional Japanese artwork in just hours. You don’t have to wait years to be ridiculed, you can start right now to provide even more non-authentic images to the world. I indulged myself even more with this experiment and made a more surrealistic image than most.

I use an HP design Jet printer. Glass and metal frames as shown are terribly expensive new. I shop at thrift shops and Goodwill Stores. This one was only six dollars. 18X24 inches. Would have been $25 new.

Here was the original photograph:

Here’s one of several modifications. One can dial in the amount of detail as well as control saturation, contrast, lightness, and so on.

And another experiment:

The final for now:

Some interesting detail:

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On Colorizing and Different, Not Better

NB: Unknown photographers, various magazines. I do not own the rights to any of these images.

Original monotone:

Here’s a colorized version produced by Photoshop’s colorize filter. (internal link) Corrected the skin color a bit, that’s all.

Comment: I think Kate’s skin looks better in color but Mr. Dog appears to be a black and white job. The original monotone may have been inspired by that.

Original monotone:


Comment: Okay, here’s one reason not to use color. Sleek and stylish and glossy do well with black and white. There’s a vibe or ambiance the photographer is trying to set with the monotone. Color simply sets Kate back into the everyday world.

I’m too rushed in the field to decide whether to shoot in color or black and white. My correcting is in post. Does a studio photographer take the time to decide? Or do they also convert later?

Because some subjects are just doomed to look bad in black and white from the beginning. But how does one know that beforehand?

Here’s Bellucci in color as the original magazine cover shows:

And here’s how it would have looked in monotone without any adjustments:

Yikes! That has a more documentary look than a fashion shot. Is that a lesson here? Emphasize seriousness with black and white? While avoiding the other conclusions that monotone implies . . .

So, sometimes one choice is better than another.

And then there is different. Converting this original to black and white at first seemed listless at best.

The monotone version:

Still, something seems there for me. Without color cues, texture of the chiffon seems dominant. Well, Photoshop does have texture filters. Here’s one experiment.

I’m not saying this is better, rather, that it presents another path to wander down in the creative process. This is by trial and error; I wonder if a real photographer can see these paths before beginning.

And we could put this B&W back into the colorizing filter once again. I adjusted the saturation to pink since that is what I first think of with chiffon. Not blue as in the original. But I’m a guy. That material may actually be silk or taffeta or whatever. Whatever!

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Photoshop’s Smart Portrait Neural Filter

I’ve written on Photoshop’s neural filters before (internal link). Here, the Smart Portrait filter transforms the ever angry and sullen Megan Fox into something less gloomy.

The first photo is the original. You can see how overdone the last photo is which was set on maximum. The second photo simply looks like she is forcing a smile. The original was a 72 dpi screen shot, better res photos should do better.

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More Colorizing With Photoshop’s Neural Filter

Adobe recently come out with filters which rely on downloading additional software and then real time processing in the cloud.

In other words, for these operations, Photoshop is not a stand alone program but instead relies in part on harnessing the computer power of some distant mainframe.

The results are very impressive as I have written about before. (internal link)

As attention spans get shorter and shorter and as no one truly reads on the web, this colorizing may help keep someone’s interest in history.

This is a monochrome from the Library of Congress of Ina Claire who became a silent film star.

And here is a one-click, didn’t do anything else, color interpretation by Photoshop.®

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Some Photoshop Filters

These were all produced on auto settings. Most can be manipulated endlessly by setting manually.

Update: I am selling a 24X36 unframed poster of these images. From my Disturbing Images page . . .