That’s what I’m told– that it emulates the effect of a
high-intensity key light in the studio.
I looked at your piece- you’re getting there-
But the focus looks a bit soft for this
effect. Try to keep it a little "crisper" esp. around the eyes (you can paint black or gray on the mask) even if you choose a softer focus elsewhere.
Because you are wiping out so much of the detail,
what you keep has to be clean and in focus.
The current Computer Arts Projects magazine has a
variation on this and (I cannot *believe* I am plugging this book– go to B&N, buy a latte and read it, don’t spend $40 for it–there is not $40 worth of stuff in this book) the new Down and Dirty Photoshop CS has another variant.
"Richard" wrote in message
now, that is cool! Thanks for the example. I’m going to try this again with the original. So this technique is called "High key?"
JP Kabala wrote:
–Use select color range to get the skintone
–feather the selection to soften the transitions
–use a curves adjustment level to bleach out
the image (adjustment layers are better than painting
over– you can tweak and edit small things much more easily) –use a mask and an airbrush to block out
the b/g (I’m a big fan of masks rather than erasers)
–adjust color to suit. (I desaturated the yellows and reds and increased magenta sat in HSL a bit in my demo)
go to alt.binaries.comp-graphics and see
the b/a I threw together in about 5 minutes.
Subject line will read "High Key for Richard"
I’ve seen tutorials on this in a couple of
books recently, but I don’t know of one
on the web.
I suppose I could write one <g>
"Richard" wrote in message
http://www1.photosig.com/go/photos/view?id=974083
http://www1.photosig.com/go/photos/view?id=914410
http://www1.photosig.com/go/photos/view?id=525829
http://www1.photosig.com/go/photos/view?id=1079159
I tried contacting the artists in these examples, but i don’t think they used a real email 🙂
Thanks,
Richard
