ADDING IN­TER­EST­ING TEX­TURES TO EN­HANCE A SCENE

HWM (Malaysia) - - APERTURE -

With this im­age from Swakop­mund, Namibia, Tris­ton re­calls how the weather was over­cast with the oc­ca­sional driz­zle. There was none of the blue sky with fluffy clouds that he was hop­ing for, but he still man­aged to get an im­age of a yel­low-billed kite fly­ing just above him.

The shot was of course se­verely un­der­ex­posed as his cam­era au­to­mat­i­cally re­duced the ex­po­sure to com­pen­sate for the pre­dom­i­nant back­ground of white clouds, but Tris­ton took the im­age into Light­room to make a proper pic­ture of it.

First, he used the Ra­dial tool in Light­room to high­light the kite and in­creased the shadow de­tails to 97, re­veal­ing all the de­tails of the bird’s wing­span. Tris­ton also used the brush tool within the Ra­dial Tool to erase the space out­side the bird’s frame so that the ef­fects only ap­plied to the bird it­self.

Next, he se­lected the Aged Photo ef­fect un­der the Light­room Color Pre­sets to give it an old-fash­ioned sepia look. Bring­ing the im­age into Pho­to­shop for fur­ther edit­ing, Tris­ton then added a new layer and se­lected Ren­der un­der the Fil­ter Panel and chose the clouds op­tion. To make the clouds look as if they were in mo­tion, he then ap­plied the Path Blur fil­ter un­der the Blur Gallery op­tion in the Fil­ter Panel.

Fi­nally, Tris­ton blended the clouds layer with the back­ground layer us­ing the Soft Light ef­fect un­der Trans­parency. As there were parts of the clouds that merged with the bird’s body, Tris­ton also ap­plied a vec­tor mask onto the clouds layer, al­low­ing him to mask out the clouds on the bird’s body. Af­ter fine tun­ing the con­trast, high­light and shadow de­tails of the im­age, Tris­ton fur­ther re­duced the sat­u­ra­tion by a lit­tle so the over­all ef­fect would be more sub­tle. Now the yel­low-billed kite is fly­ing against a more in­ter­est­ing back­ground!

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