I need to think of new ways to introduce the fact that there are so many things about Photoshop I never knew existed, much less how to use them, and that Bryan O’Neil Hughes as Principal Product Manager for Photoshop is the one that brings them to light. In the latest video from the Adobe Photoshop Playbook, Hughes sheds his light on how to blend multiple images in Photoshop. However, unknown to many, blending images in Photoshop doesn’t have to be strictly regarding stitching together a panorama, or a collage, but to blend depths of field.

[REWIND: Canon vs. Nikon: Why I Want To Switch To Nikon, But Can't Fully | Tony Northrup]

There are more than a few situations where you’ll choose to shoot an image at a particular shallow aperture, perhaps given available light, where the depth of field of that aperture may be a hinderance to the actual resulting image you had in mind. For instance, shooting a couple in a dimly lit environment, you may need to shoot at f2 to avoid camera shake and, when in fact the depth of field you want the image to have, where both faces are in focus, would only come from shooting an aperture of say 5.6, an aperture that may induce too much camera shake for the environment if given enough exposure time. So, what do you do?

Given the tools presented here, you would be able to shoot two images (or more), focusing on each face from roughly the same position, and then blend them seamlessly in Photoshop, where both focal fields would be blended together to give the desired effect of having both faces be in focus. Interestingly, the images do not need to be perfectly aligned for this to work as Photoshop seems smart enough to be able to align them for you. It may require some cropping, but it’s still useable.

Photoshop also seems smart enough to be able to discern whether the input images to be blended are a set of panoramic, or stacked images, so selecting ‘auto’ on each step is a generally useful go-to. What other applications would you use this for?

Source: Adobe Photoshop

A wrinkle here, a wrinkle there, is no big deal. We should welcome them since they add character, right? Or am I alone here? Well, maybe I will be if I let crows feet take over my face. 
As is typical with photographs, any imperfection in the skin or otherwise, tends to stand out more in the picture than it would in the flesh.

With today’s modern camera and lens pairings offering up such high resolution and that often leading to high magnification, wrinkles can appear to be far more prominent than you’d like, and may detract from the person wearing them, so it’s natural they are a target for eradication in Photoshop. As such, it’s good to have a grip on doing it well, and Aaron Nace shows you two ways to deal with wrinkles so you achieve the look you’re going for. One method shows you how to quickly remove the wrinkles altogether, and the other, to reduce their appearance.

Thoughts

One thing I’m glad Aaron touched upon in this tutorial is the idea that everyone has wrinkles. Really, until recently, I had the face of a 14 year old and I have some wrinkles which I welcome, though to be fair, men tend to, more than women. Removing wrinkles entirely from someone’s face typically leaves it looking very unnatural. That’s not to say some shouldn’t be removed, after all it’s individual preference, but toning down the presence of the wrinkle generally accomplishes a much more believable, realistic look, whilst still maintaining a much ‘cleaner’ appearance.

I tend to do most of this a much more complicated way involving frequency separation layers and using a combination of the patch tool, healing brush, and healing brush, but I’ve got to say, this method is so much more straightforward, and seems extremely effective. Worth a go.

Source: Phlearn

Photographing people always presents a high grade challenge in comparison to other subjects, since faces, and people on a whole, are things our brains are sort of hard wired to recognize. As this is the case, we can pick up with a speed faster than thought, when something is amiss. It could be color, shape, or any other host of things. When you get into photographing people seriously, one of the things that sticks out is blown out highlights, and the effect it has on skin. It’s something we try to avoid.

Cameras have a suite of options nowadays to help the discerning photographer avoid such highlights, from ‘blinkies’ alerts, to live histograms within the LCD or EVF. And, of course, there are techniques to be applied when shooting to do the same. Sometimes, however, it’s unavoidable. I know all too well from living in Miami and shooting outdoors that blown out highlights, or over exposed areas of skin are just things I have to be hyperaware of and expect, to some degree.

[REWIND: HOW TO REMOVE WRINKLES FOR A REALISTIC, YOUNGER, & CLEANER LOOK]

Highlights themselves aren’t all bad, but present two distinct problems for skin: washes out color, and diminishes skin texture. Of course, it can also create other issues like chromatic aberration around the edges of the highlight, but mostly, we are concerned with the possible loss of information regarding texture and color. In this video, retouching savant Michael Woloszynowicz will teach you how to effectively, and relatively painlessly, recover skin texture, and fix color, from over-exposed areas.

Thoughts

Using a variation of frequency separation, Michael shows how just using a few tools in Photoshop can get the desired result. It’s important to note that he does state at the beginning, how important it is to check to see if the image does in fact have enough data recorded to bring any information back into the blown out area. As noted, older cameras or ones that don’t have very good dynamic range capability, will struggle with this, and of course, shooting RAW will help. In case you’re interested, this was shot on a Nikon D800 with a Nikkor 105mm Macro, and clearly, in studio.

Using the sliders in either Lightroom or Camera Raw can give you a quick way to identify just how much detail there is ‘hidden’ and able to be brought back. This would be a good place to start.

I have to admit that for more than a few viewers, the degree of subtlety with which Michael works, can seem mystifying. I think it’s great since I generally do the same, but for those of you who may watch and may think you’re not seeing much of a change, just wait to the end and you’ll see just how all those subtle actions come together to create something natural and noticeable.

This is just one of Michael’s brilliant free tutorials, and if you weren’t yet aware, there are many more where that came from. Check out his YouTube Channel, and his Facebook, and anything to do with VibrantShot. His paid products have met with real critical acclaim too, and seem to be very comprehensive.

Changing eye color, without a doubt, has to be one of the most desired alterations people want to make to themselves. A look at the still booming market for colored contact lenses, and now even some surgeries to alter your real eye color are directly indicative of this. Typically, it seems to be people with darker eyes who’d like to have something a little lighter.

A favorite combination is often to pair black or brown hair, normally associated with very dark eyes, with blue, or green. If you’ve ever met anyone who is ‘black Irish’ (no, it’s not a derogatory term), you’ll know they have a beautiful look with fair, sometimes slightly tanned skin, very dark hair, and light eyes. It’s a striking combination. Changing your eye color is no simple thing to achieve in real life, and the contacts don’t ever really look right. So, why not do it in Photoshop? And who better to teach you a method than Aaron Nace.

In this video Aaron walks you through the steps, and talks you through the mental approach to achieving realistic eye color of your choosing, and in typical quirky Aaron fashion, shows you how to go to the edge of normalcy, and blow right by it creating some right-out-of-Avatar SFX eyes.

Thoughts

If your eyes are truly truly dark, or the image is a bit too dark, or a low res file, where you’re unable to actually pull any of the details out of the iris using the curves layer Aaron suggests, there’s not much you can do to add that detail back. I suppose, if you were in the mood to be artistic and tedious, you could use a WACOM pen to draw what you want to see, but good luck getting that to look proper and remotely believable.

So, it’s more something you’d want to get correct in the photography portion – meaning, light the image/face well enough where even dark eyes can pull out detail. You could add a reflector under the eyes, or use a strobe, or position them in such a way to have the light really burst through and brighten the eyes. Here’s a quick shot I took to show how dark-ish eyes can show more detail with a burst of flash.

Also, I would suggest using reference images of the color of eyes you’re creating. What your mind may perceive a particular color eye to look like, may miss the details that are actually there. For example, what we call green eyes, tend to have frays of yellow and orange especially near the pupil, so are not just entirely green. Missing this will undoubtedly leave you with a ruinously unrealistic look. The hues of green can often be different also, and there are often highlights and dark lines that all add up to making a realistic eye color. It’s imperative to use lots of layers to bring these details out.

Action Breakdown

Given that this video is a bit detailed, though easy and simple once given a run through, here is a breakdown of the steps for reference to make it easier.

1. Make a new layer. Then create a curves adjustment layer to go above it.

2. Curves adjustment layer should curve upwards to brighten the overall image. The purpose of this is to be able to see more clearly all the further adjustments, and to allow for after-the-fact adjustments to your targeted area.

3. Generate a selection where the eye (iris) is, using the elliptical marquee tool. The selection should be slightly smaller than the iris itself. Typically, eyes are a little darker around the edge of the iris, and this lends to that.

4. Click on the mask and ivnert (CMD +I) the selection. At this point, you can delete the layer underneath and then invert the mask one final time.

5. The selection will have a hard edge/outline that’s unnatural since the edge of the iris is often soft, so a blur is required to make it look more real. Proceed with Filter>Blur>Gaussian Blur, and select a number that provides you with the proper amount of blur to make it look right. This number will vary depending on image size, resolution etc.

*6. This is necessary to ensure all alterations of color are done solely on the eye. First, create a group by hitting CMD+G. Next, copy the current layer mask on to the group by holding ALT/OPT and simply dragging it on top of the group folder. Once you’ve done this, the mask will apply to the entire group.

7. Since the old curves layer is not no longer required, just fill it with white by pressing shift+Delete, and selection ‘Fill with white.’

8. This is where the alteration of color/transformation really begins. By choosing a hue/saturation filter, just use the sliders to create any color you’d like. Desaturating the colors is often a good thing to do to preserve realism.

9. At this point if you find there are parts of the eye, such as the pupil or catchlights that might have been affected by the mask, you can go back and paint in the areas with ease.

10. From here, it’s just going along with your creativity. You can duplicate the layers by dragging the collective group down to the new layer icon, and making the underlying one invisible. You can dodge and burn to give extra depth, and then add colors to certain parts of the iris such as often found around the pupil.

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

Source: Phlearn

Each of us has some type of photography, that for whatever reason, as inexplicable as it may be to some, we gravitate towards. Sometimes, it’s not even the type of work we do to make a living. I actually know some aviation photographers who are utterly passionate about it, but on any given day, you’ll find them either crouched to the side of an altar shooting a wedding, or hunched over at their desk editing one. There’s an enormous piece of the SLR Lounge audience-pie that shoots weddings and/or portraits, and I hope the tutorial to follow, suits.

I love photographing two things: aviation, and people. But it’s people that really hold me as subjects, and luckily, they’re most readily available. Given the white balance issues that can arise in digital photography, never mind the host of other facets that affect color and tone rendition in an image, skin tone adjustments is something we generally always have to deal with. There is a veritable lucky-dip of methods to fix/adjust skin tone, and this is one of my favorites. I’ve only been using it for the past few months, but it is yet another reason I adore Camera Raw, and the ‘new’ Camera Raw Filter option in Photoshop which will let you easily open JPEGS and more in CR.

[REWIND: There Are Financial Benefits To Beauty – Shoot & Edit Accordingly]

Camera Raw has a very similar slider panel set to Lightroom so if you’re a Lightroom user you’ll feel rather at home. Here are the primary slider panels we’ll be working with:

Slider Panels Within Camera Raw

Split Toning, HSL/Grayscale. Basic, and the little known and lesser used set under Camera Calibration.

Most people adjusting sliders will begin at the basic panel, and maybe adjust the temperature and tint, and then maybe move on to Hue and Saturation in HSL/Grayscale. I start at neither. I begin, most of the time, in Camera Calibration. I find that most of the skin tone errors I have, tend to be an overabundance of reds or magentas, and while there are those specific slider options under HSL/Grayscale, they tend not to be able to move the colors in the right way, in my opinion.

It should be noted that the use of these sliders at any point in the retouching process  is fine. There are many times you may be numerous steps or an hour into your image and may decide you’d like to alter the tones, and this works well there. If starting from the moment you open the image you can use the dropper to find a better white balance all ’round, and then work from there.

Camera Calibration – The ‘Neglected’

Under Camera Calibration, I tend to use the Red Primary, and Blue Primary hue sliders to do the most impactful part of my tone adjustments. Even if you may not find it the most impactful, I find that the hues these adjust are the most difficult to adjust elsewhere. Typically, if there is too much red, I’ll pull down the Red Primary Saturation a little, and up the Blue Primary Hue. Having too much magenta, which is common, simply moving the Hue slider under Red Primary is often all you’ll need to see a drastic change. I may then desaturate a little, and up the Blue Primary Hue if necessary.

Split Toning

At this point, I have likely gotten rid of the overly red or overly magenta coloring and made the image a little too cool for my liking. A quick temperature adjustment in the Basic panel would warm it up with a more yellow/orange hue rather than red. Then going into Split Toning, I can up the Shadows saturation slider a few points, though typically I don’t, and then pick the appropriate hue from the Hue slider.

HSL/Grayscale

Lastly, since my first move may take out some red (lips in this case), that I may want back, I would go back into HSL/Grayscale and up the red slider in both the Saturation and Luminance tabs.

And that’s it. Here’s a comparison:

Before / After

In this example, you’ll notice the background and all over color and tone change in the final product, and this was desired. You may prefer to keep the adjustments strictly to the person(s) and a simple mask will allow you to do it. Duplicating the layer once more and using a mask will also let you, obviously, use the sliders to target one part of the face – perhaps to vamp up saturation and luminescence of the lips.

Before: Too much red, magenta, lacking yellow

After: removed magenta and most reds, yet brought back red for the lips and cheeks

Of course, you can play around with it to achieve an artistic look, or add a particular mood to your image, and these sliders are more than capable of doing all of that too. I tend to always work with subtlety. I shot this with a Nikon D610 (review here), Nikon Sb-700, Nikon 85mm f/1.8, and a California Sunbounce Wall-Bounce which I’ll be reviewing later. So far so good though, as I shot this right out of the box, and enabled High Speed Sync.

All retouching I do to skin, since I’m asked so often, I use a WACOM Intuos Pen & Touch and you can see my review of it here, and its big brother here. I hope this shows that you can quickly, and very easily fix many of your skin tone issues within Camera Raw, and my last suggestion to you would simply be to be more subtle, and zoom out frequently to see just how apparent even the smallest changes can be.

Many Photoshop users are familiar with the Content-Aware Fill and Content-Aware Move features, but are less familiar with the Content-Aware Scale command. The Content-Aware Scale command comes in handy when you have a relatively empty area of your photo that you want to compress. It lets you squeeze that space, but it does so in a way that usually looks good.

Take, for example, the sunset photo of the surfers above. There’s nothing wrong with the shot, but what if you wanted to put the two surfers side-by-side? That might seem an obvious use for the Content-Aware Move tool and it might work here. But when I tried it, I ran into some issues with blending the source area into the destination area. Adobe’s addition of the Adaptation enhancements earlier this year provides a tool which helps to reduce those blending problems, but it doesn’t always eliminate them. In the image below, I’ve adjusted the Adaptation Structure and Color parameters to reduce the blending/matching problems as much as possible. But there is still a visible outline around the surfer on the left.

After Moving Surfer and Cropping

Content-Aware Move or Content-Aware Scale?

What if you wanted to change the aspect ratio of your photo? With Content-Aware Move, you could move one of the surfers and then crop the image as I’ve done above. But let’s say you like the skyline in this photo and would prefer to just squeeze the photo horizontally. That’s where Content-Aware Scale can help. I’ve used CAS in the image below to do just that—and without squeezing the people. I’ve reduced the photo below to 65% of its original width. (All the photos are shown here at 650 pixels wide to fill the space available on this web page. The scaling and moving were done on the original, larger files and then resized for output to the web.)

After using content-aware scale

REWIND: [ADOBE ANNOUNCES HOST OF NEW PHOTOSHOP FEATURES]

Getting the Most out of Content-Aware Scale

The key to compressing a scene without distorting important subjects like people is to protect them using a selection. You can try CAS without a selection and it will probably do a better job than simply using Free Transform. But, to really unlock the power of Content-Aware Scaling you need to create a selection.

In most cases, this is easy to do because you don’t need a precise selection. What you need to do is just outline the area that you don’t want to be compressed. Here are the steps for Photoshop CC 2014:

1. First, make sure you’re not working with a Background layer. If you are, either create a copy of the layer or unlock the Background layer by clicking on the Lock icon in the Layers panel.
2. Select the area you want to protect. You can use any of Photoshop’s selection tools for this purpose. In the sunset photo, I used the Elliptical Marquee tool to create two circles containing the two surfers.
3. Save the selection as an alpha channel. You can do this either from the Channels panel or by choosing ‘Save Selection’ from the Select menu.
4. Choose Deselect from the Select menu.
5. Start Content-Aware Scaling by choosing it from the Edit menu.
6. In the Protect drop-down in the options bar, choose the channel you just saved. Here, I’m choosing a channel I named “Surfers.”
   
7. Adjust the image to the desired size.

In most cases, that’s all there is to it. If you’re making a major change to the height or width of your photo there may be some artifacts visible at the “seams.” If you do have this problem you might need to do some manual cleanup using tools like the Clone Stamp tool or the Patch tool.

Notice in the screenshot above there is a person icon at the right of the drop down. If you click this icon, it will tell Photoshop to watch for people and not compress them. This feature works best when people are distinct from the background and when making small size changes to your photos. It’s often worth a try because it can save you the steps of creating and saving a selection.

Featureless, Uniform Backgrounds Work Best

In order for Photoshop’s Content-Aware Scale feature to work well, you have to have a relatively featureless background. The ocean is an ideal subject; another example is the green hillside in the photo above. In this photo, I’ve protected the Swiss chateau, the catamaran and the trees nearby by simply drawing out a rectangle with the Rectangular Marquee tool. Here’s what the image looks like after being compressed by 20% vertically.

Conclusion

Sometimes, Content-Aware Move is the right tool for the job, while other times Content-Aware Scale is. Quickly creating a mask channel allows you to do a great job of protecting important content with CAS. In my work, I haven’t found any need to feather my selections.

CAS can come to the rescue when you need to fit a photo into a web page or magazine article layout, for example. You can also use CAS to stretch out a photo. This is a less common use, but could come up, for example, in a case where you need a wider or taller image to fit a specific page layout. In this case, you would need to increase your canvas size (Image —> Canvas Size or Image -> Reveal All).

Do you use the Content Aware Scale in Photoshop?

We’ve covered somewhat extensively, and will continue, to cover photo retouching of people. Aside from the fact that technologies are continually changing and presenting new solutions to old problems, and frankly, new problems, there are just so many ways to achieve a particular result. This is a good thing because as with learning anything, much of the difficulty and resulting absorption of material is in how the information is brought across, and different methods suit different people.

[REWIND: How to Effectively Recover Skin Texture from Over-Exposed Areas]

Just two days ago , I wrote about a method that’s used to adjust skin tone via sliders in Camera Raw, and it is very much an artistic, intuitive process, which I love, and the ease and speed at which it can be done is part of the reason why.

However, just getting the skin tones on one part of the body is one thing, but then different parts of the body often have different tones, and much exacerbated due to how light falls on it, clothing, make-up etc, and evening out that difference presents a challenge most will face.  Here’s a method to help with that. If you’re of a more technical persuasion, the type whose cheque books are always balanced, and see in matrices of zeroes and ones, this next approach may suit your precise nature. You can thank Michael Woloszynowicz of Vibrant Shot.

Using sampling of colors from the forehead and taking note of the values presented in the CMYK section on the Info panel, it’s quickly clear that the ratios between those colors is what your aim is to balance on all areas of skin – in this case it’s about matching the lower half of the body to the upper. Bringing up the selective color adjustment and choosing between Yellow and Red, then manipulating the CMYK options in either should give you enough control to bring the area you want to match the numbers with (Legs), to the area you’re basing off of (face).

Michael puts out some of the best retouching material out there, and much of it for free. His meticulous eyes and methods pair well with his calm way of speaking, that’s great to follow along and learn from.

This is just one of Michael’s brilliant free tutorials, and if you weren’t yet aware, there are many more where that came from. Check out his YouTube Channel, and his Facebook, and anything to do with VibrantShot. His paid products have met with real critical acclaim too, seem to be very comprehensive, and he has a new comprehensive course on fashion and beautfy photography to take you through all stages from the ground up.

Source: Michael Woloszynowicz YouTube

Summer began, and as summer does, prompted people to shed clothing as if some sort of cathartic molting. Women swap parkas and pants for tanks and skirts, and men swap jackets and trousers for t-shirts and shorts. That’s not the only thing that gets shed, as so do inhibitions. The start of summer means the start of summer flings, and now that summer’s just ended, many of those are probably ending, too. If you’re stuck with a summer’s worth of selfies with a now in-significant other that you’d rather forget, then this tutorial is for you.

Here Aaron Nace is going to show you a great, and relatively painless way, to totally remove an ex, or anyone for that matter, from a photograph using Photoshop. In one of his more humorous, yet useful tutorials, Aaron takes an image of ‘Kimberly’ and ‘Eric’, and decides Kimberly would do quite well on her own, and cleanly removes Eric showing you how he did it along the way. The result is a pretty portrait of Kimberly which she can probably use for her newly formed Tinder profile.

Knowing how to do this properly makes all the difference in the world. Nicely, the tools he suggests to use will be familiar to most everyone, and essentially re-purposes their use, and without a multitude of masking and layering. What you don’t know (maybe the pen tool), you can easily pick up from the video, and in this case, the pen tool being the method of choice, makes it simple to get clean lines without the use of a tablet.

[REWIND: Match Skin Tones Around the Body Precisely Using Selective Color in Photoshop]

That said, however, for the cloning and painting, I would always suggest a tablet for more fluidity, and accuracy. If interested you can see some reviews of the tablets I use most here and here.

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

Source: Phlearn.com

It was, for me, the most daunting Photoshop tool there was. It felt unnatural and the flow was not as organic as other tools like the magic wand. I knew little about it, and thus was a bit afraid of it, so I’d avoid it like I was some immune compromised pensioner, and it had Ebola and was about to sneeze. But the pen tool needn’t be viewed with fear, or avoided, and if you do avoid it, you may be missing out on some of the best Photoshop has to offer.

For some time now, I was considering doing a full on breakdown of it and its uses, but now I needn’t bother because Aaron Nace has provided a welcomed and easy to digest guide to understanding and using the pen tool.

[REWIND: How To Remove Your Ex In Photoshop]

Like anything in Photoshop, putting it into use, and going through the steps and trial and error is necessary for learning and assimilating the information. You can watch videos from now until the cows come home, but if you’re not actually maneuvering through the actions yourself, it won’t be of much use. And you should do these things on a continual basis as Photoshop is a perishable skill. Don’t believe me? Try taking a month off and coming back and see if you can really keep your output level the same and at speed. While following along with this video, I highly recommend you have Photoshop open and sort of play around with the tool as Aaron holds your hand like a small child and guides you through the woods.

A great thing about learning to use the pen tool is that it is not exclusive to Photoshop, so you may at one point find yourself in front of another illustrative graphic program and recognize your old friend.

The Pen Tool is really all about making selections. You may wonder then, why it isn’t found in the same grouping as the other Photoshop selection tools like the Quick Selection Tool. Well once you try it for the first time, you’ll understand. It follows paths very unlike the rest, and honestly, would be more appropriately named the Path Tool (Probably called a Pen Tool because it was initially developed to assist in the designing of cars). How the paths connect from pixel to pixel is really what makes it such a brilliant tool for making selections whether you want to cut an object out, or move, or simply just separate it to do some other editing. Anyway, without getting really into the boring nitty gritty of it, and without further ado, here’s Aaron to actually show it all to you.

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

I’m forever astonished to see how Photoshop users take the software and just do the most creative things - from creating vast scenes of composites to making a world that doesn’t exist. For my type of photography, I typically am more concerned with the retouching of people, and altering light states, and perhaps some mood alteration.

On the odd occasion, however, I will cut a person out of a scene, usually from a seamless backdrop, and onto/into another scene. This could just be to alter the color of the background onto a collage or something. Dealing with a subject’s hair in the cut-out process, can be excruciatingly tedious though clearly from the video you’re about to watch, it needn’t be.

[REWIND: Why Your Photos Get No Likes, And Why Ones Much Worse Do Much Better]

Aaron Nace, with his trademark geeky humor and effortless teaching ability, gives the key to unlocking the secret to cutting out hair seamlessly. There is one small caveat – it is much easier to do this using dark hair against a light backdrop. Essentially using contrast to allow for easier separation.

What you’ll be doing is using ‘Channels’ to find which solar channel shows the most contrast between hair and backdrop. Once you’ve decided on this, you can up the contrast in the channel even more, and your selection in channels will carry over onto the layer you’re working in. Back in layers, all that was dark will turn invisible and a simple inversion of this will cut out the background.

From this point all you’ll need to do is concern yourself really with the fringing, the light colored halo that surrounds the cutout of your subject, which is apparent in pretty much any selection you make in Photoshop. Aaron’s method to deal with this is the easiest way I’ve seen, and very effective, and much better than dematting or ‘refine edge’. Actually, the whole process, is generally much better than the other methods you may have used, or avoided, before.

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

Cinemagraphs are photographs that are partially animated or in motion. Most of the time, they are created by taking a series of photographs and only putting a part of each image in motion, leaving the rest of the picture still. By doing this, you can avoid movement of elements on your image that would distract the viewer when being put into motion and achieve a partially moving timelapse video.

Photoshop-expert Howard Pinsky explains how to create awesome cinemagraphs using Photoshop in under a minute:

• First, you import your footage, which should be completely in motion.
• After you have done that, you duplicate your video layer, drag the duplicated layer to the top of your layer list and pull the duplicated video on top of the original footage, then rasterize it.

[REWIND: GIFS FEATURED IN THE SAATCHI GALLERY? THERE’S MORE TO THEM THAN YOU THINK]

Now, you just need to add a layer mask to your rasterized layer and select a soft, black brush. Then you simply paint the areas of the image that you want to be in motion and export your video.

It is as simple as it sounds. Tell me in the comments below whether this worked for you and if you got any further advice for people that want to create great cinemagraphs by themselves.

About the Guest Contributor

Robert Lüthje is an architecture- and urbex photographer, based in Berlin. He also participates in short films and music videos. If you’re interested in his work, you can follow him on Instagram.

Good dental hygiene. It’s just so important. Not only because teeth are, after a point, very unforgiving and costly to repair, but also good teeth and a bright smile are immensely attractive. So there really is no substitute for taking care of your teeth – or is there? Well, in the realm of Photoshop, physical flaws are only an inconvenience waiting to be made right, and Aaron Nace is just the hygienist to take a Quasimodo grin, turn it into smile worthy of a Cosmo cover, and show you how it’s done. Won’t do anything for your breath though…

Joking aside, just as in person, and perhaps more so in a photo, discolored and misshapen teeth can be the crumbling pillars of an image. From being just a pesky distraction, they can steal all the attention from an otherwise wonderful image of a pretty person. To achieve the look you are going for in Photoshop, there is no set path, but the route Aaron demonstrates is a bit more in depth than what I find many do, and the resulting finished product is that much more appealing.

While it seems to some that simply desaturating teeth to remove stains is the easy and acceptable fix, it should be noted that there is more to be done once a closer inspection of teeth is taken. Aaron approaches teeth by viewing them with 3 different layers which need to be addressed separately: the outer sheen, inner white and then darker areas, and he shows how just using layer masks and some blending tools the three can be quickly dealt with.

After administering the adjustments to color, you’ll see how using the liquify tool can take some disorderly teeth, and make them into something worthy of flashing for paparazzi.

[REWIND: F-Stops & T-Stops? Which One Matters To You & Why]

Thoughts & A Word On Thinking About Details

Aaron, as always, does a wonderful job breaking down the steps, and teaching little tricks along the way, having you arrive at a finished product quicker and easier than you may have thought possible before. I’d just like to offer a second of insight into analyzing before you begin retouching.

This is the sort of detail that many miss because they don’t take the time to really look at what’s in front of them. The best way I can think of to explain is to compare a child’s drawing of a person to that of an art student. The child (or person who has never drawn much), sees a head as a basic shape that is somewhat round, and knows generally that there are two eyes, a nose beneath it, and a mouth beneath that. Proportions are drawn to what they believe are correct, but the end result never really ends up looking like a real head and face.

An art student, however, has spent more time looking or studying the head and realizes it’s important not to draw what they think should be there, but what really is. They begin to learn or notice ratios – that the space between the eyes should about equal the width of another eye; that the nose is about halfway between the eye-line and chin, and that the ears fit close to neatly between the nose line and the eye line. We don’t typically notice all of this since we have a tendency to generalize and render what we think should be there.

My advice for better retouching is to really get in close, maybe turn the image upside down, and instead of ‘drawing’ what you think a feature should look like, think and render in terms of shapes and shades, and what’s actually there.

It’s worth mentioning that this is all a matter of taste, and your adjustments needn’t be as drastic, but knowing how to do it is a great skill to have. I’m forever seeing headshots which would otherwise be beautiful portraits, ruined by a total disregard for retouching the teeth. Possibly worse, is when retouchers drag all the saturation out of the teeth and what’s left is a sort of gray, dark, unnatural mess. So don’t be oblivious to the effect teeth can have in your image, and when retouching them, give them an extra minute of thought.

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

We have all been there. You know, when you are on vacation, visiting a really cool tourist destination and all of your pictures stink because they are full of, well, other tourists. Take your vacation and travel imagery to the next level by removing those pesky tourists from your shot without even touching the clone tool.

The process is simple really, but involves taking multiple shots of the subject with the tourists in different parts of the frame. Then, when you get back home, you take all the images in Photoshop, place them one over the other, and start masking out the tourists.

[REWIND: Steve Perry Shows Explains Polarizers]

Don’t worry, if you don’t quite follow what I am saying, you can follow along in the process with this great in-depth tutorial done by Steve Perry. It’s really quite an easy technique, though it may not be feasible in super crowded places where even when getting multiple frames won’t help you.

I know I will be using this the next time that I run into this situation. This technique is so much less time consuming in post vs using the clone tool to try and clone out the tourists.

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Have you used this technique before to get a better final image of a popular destination? Leave a comment below and tell us about it!

[via Steve Perry on Youtube]

There is a funny issue that is cause for debate between photographers, and those who simply think they know what a good photograph should look like. It often has to do with how a particular person feels exposure should be rendered. To some, a picture wasn’t made correctly if there are blown out highlights, or parts of the scene, such as the sky, are under or overexposed compared to the rest of the image.

Taking overall exposure and highlights into account is certainly one of the things that separates complete novice photographers from those who, at least, put a little more thought into it. I’m not taking a stance here saying that an image with parts a bit blown out aren’t good, in fact I am a fan when it’s done correctly, but as I always like to say, it’s important to know the rules before you set out to break them. Try to understand how to balance exposure, and then decide how you artistically want to play with it.

an exaggerated version of what can be done with this tool. (Franchman’s Cove, Portland, Jamaica)

Nonetheless, there are countless times when we have an image and want to lighten or darken some part of it, and typically, it’s the sky. Whether it’s a landscape shot, or something to do with aviation, or even a portrait. Largely, graduated filters would be the best option to take care of this at the time of the shoot. They will give the most natural look, but are not without their drawbacks. Namely, you don’t always have your filters on hand, or perhaps you have a new camera system and have yet to acquire the requisite set of filters for it. Luckily, there are ways to add gradient filters in post.

Also, when using a graduated filter, ND or not, while it may give a natural look to the sky, if there are any subjects in the foreground that protrude into the sky, they will also take the effect of the filter, and you may not want that. It could be some structure, a person, a mountain, or anything, and correcting that in post isn’t always pleasant. The same sort of problem would arise when using graduated/gradient filters in Photoshop or Lightroom, where you would drag the gradient filter into place and achieve a wondrous sky, but then the person or building in the image would be half dark. Then you’d have to painstakingly go into other tools and try to bring back those parts of the image to their original nature. Well, it needn’t be that difficult, and an update to Camera RAW is why.

[REWIND: F-Stops & T-Stops? Which One Matters To You & Why]

In a somewhat recent update from Adobe, Camera RAW now gives you the ability to take a special adjustment brush right out of the graduated filter panel and simply erase the graduated filter effect from the parts of the image it does not belong. So no more fumbling with saturation and brightness and density etcetera to bring back those parts. It’s simple, and the masking features make it even more painless by eliminating the need to be as precise as a neurosurgeon with brush strokes. I don’t do a whole lot of landscape photography, but I do quite a bit of aviation, beauty/swim stuff that benefit from this too.

Here’s how:

Open an image in Adobe Photoshop CC. If you’re opening a RAW file, it’ll likely open in Camera RAW to begin with, or you may have your system set up to open JPEGs there also. If opening a JPEG without this set up, simply go to Filter>Camera RAW Filter. Select the Graduated Filter and drag it into place, making the adjustments just as you’d want, i.e. exposure, highlights, etc.

Here the problem is displayed where the subject also takes on the effect of the filter.

Once you’ve done that, select BRUSH under the Graduated Filter menu under the Histogram and you’ll be presented with a new menu that looks like the one below:
Select the Brush Icon with the Minus sign, and adjust your brush options as desired. At this point, all you’ll need to do is brush over the areas you want the filter effect removed from.

Under the Brush panel, you’ll see an option for Automask, and this is a saving grace for detailed spots. It seems to detect edges and gives you much more room for going over your boundaries when removing the filter effect. The caveat is that it works well for the detailed edge areas, but for larger open areas, (like her face and chest) it’s better to have it of – so toggle as needed.

Once you’ve completed erasing the effect, you can click MASK at the bottom right of your Camera RAW screen to see if you’ve left any remnants on the subject you should remove. The default color is white, which I prefer, but you can change it to any color you desire.

Don’t forget too, that this filter option lets you change color so you can play around to get all sorts of interesting effects. Here are a few.

Thoughts

It’s such a brilliantly simple thing to use, and will make your life so much easier in regards to making the most out of skies and filters. I would say, as always when it comes to Photoshop or Lightroom, that having an Intuos Tablet will make your life exponentially easier, and make your workflow that much faster as well, and that much more accurate. I have reviewed the types I use which you can find here for the least expensive and perhaps the only one you’ll ever need, and for its much bigger brother here. Do you need it for this type of effect? No, but it makes it a lot faster. Happy editing.

Dodging and burning is probably my most used process in post. That’s likely half due to the fact it’s an extension from my film developing days, and the fact it’s so easy, and so effective. Too many people, when confronted with Photoshop without much experience, are intimidated by the interface and just how dauntingly powerful a tool it is.

Even to dodge and burn, there are a handful of ways to go about it. Mine, which I’ll explain in a later post, is generally easy, where I create two curves layers, adjust one up and one down, then mask, and then paint over the areas desired. The way Aaron Nace will show you today is another simple way to go about it, and unlike my method, sort of helps guide you as to where the highlights and shadows should be strengthened.

[REWIND: How To Make The Most Out Of Graduated Filters In Post | Camera RAW Makes It Easy]

Here’s How:

Duplicate the background layer and then desaturate the layer by keying in Shift + Smd/Ctrl+U, and then changing the blending mode of that layer to Vivid Light.

Next, you’ll be using a High pass filter, but selecting Filter>Other>High Pass. Aaron points out that this is very similar to the technique used to sharpen an image spare the fact that in this scenario, you’ll be bringing the radius extremely far to the right, in order to focus on broader details.

At this point, you’re more than halfway there. You’ll notice the whole image looks much too sharp and not how you’ll desire it, so create a layer mask and simply paint back only what you’d like to be visible. Of course, you can also change the opacity at this point and Aaron suggests shifting the blending mode to something like Soft Light if what you’re going for is more subtle. All in all, very cool, very fast.

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

I can’t function in clutter. I loathe clutter. I’m not necessarily OCD about it, but I learned a long time ago that it makes more sense for me to only acquire things I really really like, and/or utilize. I actually have Jennifer Love Hewitt to thank for this because as a kid, I would pretty much buy any movie she was in, which meant I ended up with a selection of utterly rubbish films.

This attitude carries over into photography, especially because it’s so easy to amass so many pieces of equipment you simply must have. Well, usually, you mustn’t, and then add to that I travel often and my gear goes with me, it becomes a necessity to only bring the necessities. After all, traveling today isn’t like it was before the fall of the Berlin Wall. Then, all you carried were your passports, a tatty picture of your betrothed, a bigger one of your mistress, and a paper map.

Now though? We have cell phones, laptops, tablets, and cameras, and I do my absolute best to avoid adding anything else to the list - but the one other piece I simply cannot do without now, is my Wacom tablet.  It is an integral part of my photography, and my system feels naked without it. It will transform how you post process in any application, including Lightroom.

There are, at last I was told, close to 150 different editing applications that recognize and utilize Wacom touch/pressure sensitive tablets. That’s an astonishing number, and what that means, other than Wacom has the market covered, is that on almost any computer, using almost any remotely capable editing software with a Wacom tablet attached, you are able to approach retouching in a similar way.

Now, safe to say most people associate using a Wacom Tablet with Photoshop. I’ve written a few reviews on two Wacom tablets before, and among the many questions you, our extended family, have posed to me, two have stood out: “Why would I need a tablet since I do the majority of my editing in Lightroom?,” and, “Does it make more sense to buy your Preset System or a tablet for Lightroom?” [BOTH]

Clearly, there is a feeling that a tablet doesn’t serve much purpose for the Lightroom user. Over the coming weeks I’ll be sharing a few posts on Wacom tablet use, from how to set-up your tablet for Photoshop, how to do so for Lightroom, and today, allow me to explain why I think a tablet is still invaluable for all Lightroom users.

*Before I go any further, I think it prudent to mention I have no direct affiliation with Wacom, and will not even be getting an extra set of pen-nibs for my flattery.

These days, Lightroom is becoming a really dominant force in the photographic marketplace, and people are spending the bulk of their editing time in the LR Develop module. When Adobe makes an editing tool, all of us would be wise to pay attention, and personally, I feel no one pays more attention to this than Wacom. While the tablets may have begun simply as an input device that allowed a more recognizable way to navigate a GUI, the obvious applications were there for art, and by extension, photo editing.

The role of the tablet and pen is a rather obvious one: It’s an input device that lends to the computer the fluidity, and familiarity of using the pencil and paper we’ve used our whole lives. Quite basic at first, they have crawled out of their primordial ooze an entirely new beast of productivity, and Adobe and Wacom work together to make the user experience with these tablets significantly heightened. In many ways, these programs were designed with tablets in mind. You simply cannot do the same things the same way without one.

So while the association with tablets has largely been with Photoshop, Lightroom users often seem to be amiss where the tool comes into play. Frankly, Lightroom users, you can make the tablet totally integral to your Lightroom workflow. The tendency is to associate the tablets with functions that utilize pressure sensitivity and the pen motion, such as the adjustment brushes, but there’s more to it and I’ll explain.

Tools With Obvious Pen Utility

The Adjustment Brush and Spot Removal are really the 2 of the 5 primary tools in the Develop module that have the most pen utility. The Adjustment brush is essentially a mask applicator that lets you locally adjust exposure, brightness, contrast, and much more, wherever you like. When doing a portrait retouch, this becomes incredibly useful.

The beauty of applying these with the pen tablet is not only do you have the accuracy and fluid movement of a pen vs mouse, but you can control the opacity, simply by using pressure – a natural extension of what you know a pen to do on paper. You can also use the button on the pen itself to quickly adjust the size of the brush you’re using to the precise size needed. And of course we can’t forget that when using the brush you can hold the option/alt key which will turn the brush to an eraser, and you can erase with accuracy and speed.

Beyond The Adjustment Brush

Quite possibly, for many, the most utility of the tablet will not come from the ease, intuitiveness, and accuracy of the adjustment brush, but the ease and speed that Lightroom’s interface can be navigated using the pen, pen buttons, express keys, and radial menu (should your model have it).

The Express keys are simply physical keys on the tablet/pen, laid out for maximum efficiency, that can be programmed to do all manners of things. Each button can be told to function as a singular keystroke, or a group of them, and many other types of functions; from scrolling, zooming, rotating, etc. Those of you who are hell bent on having customizable buttons on your camera will fully understand how crucial this can be to efficiency. It allows you to bypass the seconds it requires to stop, move the cursor to the right menu, go through the submenus and make your choice. That time adds up quickly, and to a lot when you’re editing an entire shoot.

Knowing how you edit, you would assign the appropriate keys and tasks to the numerous buttons (ranging from 4 to 8 depending on the model and excluding the pen buttons and radial button), and skip all that wasted menu navigation time. Speaking of the Radial Menu, should you have a newer Intuos Pro, this will act as a pop-up semi-translucent pie-menu of 8 parts, and each part is essentially another Express Key.

What you’ll find with all of this, and the tablet’s ability to be used as a trackpad, now with multi-touch gesttures, is that it will become the only thing you keep in front of you when editing. I refuse to edit without one, and the beauty is you don’t need to spend a lot of dosh on the most expensive models to get the benefits. See my review of the Intuos Pen & Touch here, and it’s much bigger and expensive brother, the Intuos Pro here.

It will transform how you use Lightroom, and soon I’ll show you how I have my tablet(s) set up for LR, just as a base for you to gauge and change to your liking.

If you have any questions, as always, leave a comment below.

Ahh shallow depth of field, how many obsess over thee. That’s not an exaggeration, and I know you won’t begrudge me for saying we’ve all been there. Later, however, we appreciate the subtly of our craft, and that an out of focus area is not the be all of a good image.

That said, it still has its place, and sometimes all an image needs to really come together, and be something beautiful, is to remove the clutter of the surroundings via defocus, to highlight the subject. Sure, you could use a fast lens, a long tele, but there are times after-the-fact you may want to create a shallow or shallower depth of field, and Photoshop now has a few ways that allows you to do it, with a rather natural look.

In this video, Aaron Nace shows you how to use the tilt-shift tool in the Blur Gallery to give a gradient out of focused area, which is much more a natural look than a typical blur. The process is very quick, very straightforward. The only thing I’ll say is that it will certainly work better on certain types of images than others…namely, I’ve found it depends on where precisely the subject is situated. Give it a shot, and if you fancy another method, the method I use most, check out this post.

[REWIND: Why You Need A Tablet & How It'll Transform Your Lightroom Workflow]

As always, if you are a fan of Aaron’s teachings (and who isn’t?), be sure to check back here for updates, and follow along with Aaron on YouTube and Phlearn. You should also consider becoming quickly adept at Photoshop with the Phlearn Photoshop 101 & 201 sets as they are extremely comprehensive, and will have you quickly doing things with Photoshop you may have otherwise thought too complex, or didn’t even know you could do.

Many of us who work within and those who frequent SLR Lounge approach editing and Photoshop from the perspective of retouching people. The wedding photographers, the portrait shooters make up a sizable group and the focus within retouching tends to be quite similar.

I know I can speak for myself, and I’m sure for many others, and say that I often forget that there’s so much more that can be done to retouching an image, and to thus change an image in a visceral way with Photoshop. It was recently at the Adobe MAX keynote address which served as a reminder to me and to many, how endless the possibilities are.

[REWIND: How To Fake Depth Of Field In Photoshop W/ Aaron Nace]

From changing day to night, adding a light source in post, and so forth, and I’ve had some inquiries regarding how to do some of this. Photoshop’s Principal Product Manager, Bryan O’Neil Hughes, takes on a little of this in a recent Photoshop Playbook episode where he shows how to change the time of day, and also adding lights.

To be fair, this isn’t the most intense of changes possible, and his subject is a car, which you may find you have little use for. However, what really makes it worthwhile is just to see how certain tools you’re familiar with in Photoshop already, such as lens flares and gaussian blur, can be adapted and used in ways you may have never thought. Also, the little workflow tips and tricks Hughes uses along the way are the types of things we all should pick up on and utilize because they just make the experience that much quicker, and slicker.

A Further Thought

There’s another point worth noting that may actually be the most important piece of suggestive information to be found in the clip. When Hughes is adding ‘light’ to the car’s headlamps, he makes a quick mention of the fact he doesn’t want the mask to be entirely exact, because if you think about how light works, it’s usually not with a sharp edge.

This may seem like a non-issue, but if there’s one thing I always stress to anyone doing retouching of any sort, and I’ve mentioned it in a recent article, it’s that how you think about what you’re doing is just as important as how you technically apply your ability. I stress to spend a little time really thinking about what should be there realistically. Comparing this to skin editing, for example, too many retouch skin to the point it looks like plastic, devoid of pores, texture, or variance in skin tone. This is a common rookie mistake because they think the skin should be smooth, but no one’s skin looks like that. Keeping reality in mind is key to delivering believable and beautiful results.

There’s really never any shortage of good retouching advice to be found in these crowded internet photography annals, much of it right here on SLRL. If you wanted to learn how to change eye color, tame a bird’s nest of unruly hair, create porcelain skin that looks as though it’s been painted by the hand of God, you can find out how to do it in Photoshop. In many ways the advice and tutorials for Photoshop you’ll find, allow you to take a rump roast of a photo, and turn it into a fillet. What often is much more a grey area is whether you should use it in this way.

The ethics of Photoshop usage is debated to no short extent, and I think it’s not beyond the ability of any photographer to wax philosophical about it. However, in order to speak about it in succinct sentences requires a bit more. A bit more what? Well, a bit more experience than most, and, maybe, a bit more clout. These are two things Russell James has in spades. Probably most well known for his close relationship to the Victoria’s Secret brand, culture, and models, his images have shaped how we view the largest lingerie retailer, and in turn, beauty and fashion photography.

Working With women considered to be some of the most beautiful of the species, wearing nought but intricate scraps of fabric, or less, James stands, perhaps, in one of the best places for a photographer to comment on the use of Photoshop. In this episode of #Behindtheglass by a.a.productions, James speaks volumes about retouching in just a minute, as maybe only someone like him could. He comes at the topic from the perspective  of a photographer, an artist, as someone socially conscious, and it’s not hard to believe as a father as well.

[REWIND: Why You Need A Tablet & How It'll Transform Your Lightroom Workflow]

It is brief, but it’s poignant, and in my opinion one of the best takes on the subject. This will now be the video I direct others to who ask my opinion and feelings on retouching. I’ve watched the video about 5 times already, and I could summarize it for you, but the minute watching will be a minute well spent.

Source: ISO1200, Images are screen captures from featured video.

Casting aside the typical gallery look to the studio, Phlearn has morphed into something of a Devil’s cauldron. Leave it to Aaron Nace and the team at Phlearn to kick off the Halloween photography stuff, and do so with flare. When we think about Halloween, there’s usually this contrast between children, and big kids (us) dressing up in fun, funny, and even sexy attire, and then there’s the side that’s a bit more sinister, and isn’t that really what it’s all about, a little bit of a scare?

Changing someone’s eye color from normal to blacked-out is certainly one way to turn anyone into a much more sinister character, but it’s got to be done properly, and in the spirit of Halloween, that’s just what Aaron Nace will teach you how to do in Phlearn’s latest video tutorial.

Creating the black-out eyes effect is substantially more than just painting black within the parameters of the eye itself, so as always, to make it look real, it’s the small details that come together to make something look great, and believable. It is also, however, not a difficult thing to do.

That said, Aaron points out at the start, and through my quick run-through of the steps I see how true his words are, that the importance of the catchlights cannot be overstressed. If your image is lacking catchlights in the eyes, or the are very subdued, the end result is less a creepy, glassy and dark eye, and more just a cut-out of someone’s eye – which is creepy for the wrong reasons. So you’ll want to either take an image with the catchlights in mind, or add them in, or simply use a levels adjustment and masking technique to really exaggerate any existing reflections.

[REWIND: A Career's Worth Of Wisdom On Retouch, In A Minute | Russell James]

Thoughts

Most of what you’ll be doing, in fact, is making adjustments with levels and curves, and masking out certain areas, so the technique itself isn’t difficult at all. I will say though that dealing with the small area, curves of the eye, and the hair, that using a tablet is really beneficial when using this technique. I always stress how important the use of a Wacom tablet is in getting the most from Photoshop and Lightroom, and this is just another good example.

If you’d like more info on Wacom tablets spanning the price gamut, you can find out more in our reviews of here, and here. And if you’re a fan of the Phlearn tutorials, or an avid follower, really do yourself a favor and give a tablet a try. You’ll be happy you did.

Source: Phlearn