OPTIMIZING FLAWED PHOTOGRAPHS

I cherish each and every old family photograph I have. When I sit down to scrap one of these heritage photos, I hope to find the best way to showcase it, and really make it shine. Many of these old photographs are faded and discolored, and often have other flaws that make them a challenge. This original photograph was dull and had a huge shadow of the photographer in the bottom portion of it, so I knew I would want to blend the photograph on the layout to minimize this flaw, and use blend modes to maximize the details within.

Original scanned photograph

Original scanned photograph

To begin, I layer four background papers, playing around with different blend modes and opacities of each, until I achieve the soft, lightly patterned base.  To this I add two ArtsyKards in their PSD format, overlapping them, and adding a shadow to the base layer of each.

Ready to add the photograph

Ready to add the photograph

Although I edited the original photo prior to placing it in the layout, quite a bit of additional editing is done after importing it into the layout. In bringing in the photograph I first have to decide where I want it to be placed on the page.  I reduce the photos opacity, allowing me to see where the different design elements of the ArtsyKards are, which will enter into my photo placement decision. Keeping in mind that the ArtsyKards are in PSD format, and that the different layers of the Kards can be manipulated, I position and scale the photo. Now, duplicating this layer, and I bring this new layers opacity up to 100%.  I prefer painting the image in, rather than removing the parts I don’t want, so with the new 100% opacity photo layer highlighted in the layer stack, I hold down the ALT, and click the ADD VECTOR MASK button, located at the bottom of the layer stack.  This masks out the entire photo.  Then clicking the LAYER MASK THUMBNAIL,  of this layer, (making the mask active),  I begin to paint the photo back in, using a soft white paint brush.  If a mistake is made, I change the brush color to black, and paint out the mistake.   I usually start with a brush opacity of about 60%, but vary it as need be while painting in the photo.  By keeping the original, reduced opacity photo there as a guide, it makes it easier to paint the photo in.  For areas like the little boy’s suit, the opacity will be lower, however, for the face areas, I have the opacity at 100%, to best show the detail.  I purposely keep most of the area of the photo with the shadow, blended out, showing just a hint of this area.

Blending 1_600

Beginning the painting process

I now look at ArtsyKards to decide if there are any portions that I want to either turn off, move or even modify by changing their colors and/or blend modes.  For the Kard on the left,  I opted to change the dark vertical line to a soft brown,  plus I moved it, along with the bit of blended floral lace to the left edge of the kard.   Because of the dark shadow of the photographer being masked out, I took the words “embrace LIFE” on the right ArtsyKard, and moved them to that area, almost like I chose to mask out that portion of the photo to make the WordArt visible.   I can now delete the reduced opacity photo layer that was used as a guide.

Editing portions of the ArtsyKards

Editing portions of the ArtsyKards

The photo is still not quite finished.  I want to brighten it up a bit.  I apply the blend mode of DARKEN to the photo. This allowed some of the color and textures and WordArt from the Kards and the background paper to show through.  I duplicate this photo layer, and making certain that the top photo layer is my active layer, change the blend mode  to LINEAR LIGHT.  This brightens the image too much, so I bring the opacity of this layer down to about 40%.  You can see that it really brightened up the photo.

Keep in mind, with the two photos layers, it is fun to play around with the different areas, painting some areas in on one layer, and painting it out of the other.  In addition, experimenting with the various blend modes will give you different results, so with those photos, that you feel are just to dull and flawed, experiment with these techniques to figure out how to best emphasize what you want to emphasize within your photo, and you may surprise yourself with just how great the photo can be.   It is not uncommon for me to end up with 4 or 5 layers of one photo, each emphasizing a special area to create a better photo in the end.

I purposely allow some of the color and textures to show through, keeping much of the lower portion of the photo semi-transparent, but I keep the top portion the least transparent, so that the details of their faces shine through.  My last step to the photo is to check to be certain there are no textures showing through in areas that could distract from the photo, such as the chevron pattern showing through in their faces.  To eliminate that, I create a new blank layer, just under the two photo layers, and then with a light, neutral color, picked from the photograph, using a soft, reduced opacity brush, I paint on this layer to cover any of these unwanted patterns.  I don’t mind the chevron showing through much of the photo, but I like to keep the faces clean.  It is a personal preference for me.  In addition the area where the edge of the card and the card shadows left a visible line, I soften with a few brush strokes as well.

Second photo layer added, and blend modes applied

Second photo layer added, and blend modes applied

Now the layout is ready for additional design elements.

Family_1_600

I want to slightly darken the area around the ArtsyKards.  I add two FotoBlendz, changing their color, blend mode and opacity.  An additional ArtsyKard is inserted behind the two already placed.  I is enlarged to covered most of the lower right of the page. The background (base) layer of this ArtsyKard is turned off, and some of the remaining kard elements are moved around and manipulated by re-coloring, and/or blending.

Family_2a_600

A text page overlay is added, changing its color and blend mode, I mask out all but the bottom third of this overlay.  I add the Hipster Plumes in the area above the ArtsyKardz, changing their color, blend mode and opacity, so that there is just a hint of them showing.

Family_2_600

Elements and WordArt are added.  The versatility of the ArtsyKardz PSD files gave me the ability to take the doily element from the ArtsyKard, and enlarged it until it reaches the right edge of the paper.  Names and the date are added to the corner of the ArtsyKard on the right.

Family_3_600

The layout is basically done, but to add a bit more interest, I add the SkinnyLined Overlay, and the Tree brush, which mimics the tree in the photograph.  My final element is the FotoGlow, which is added directly under the Hipster Plumes, manipulating its color and opacity to best enhance the Plumes.

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For product credits, click on image.

If you have yet to play around with masking and blend modes, I do hope this tutorial gets you started.  It is so fun to play around with Photoshop, and amazing what it can do for a layout.

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CLIMB – a multi-photo, template layout.

I recently took a trip with my daughter to visit my parents back east. While there, my daughter decided she had to climb one of the two huge pecan trees in the front yard. My immediate thought – PHOTO OP!!! It was rather comical, as my daughter found it much more difficult to get up in the tree as she had thought it would be. I loved the photos for a good many reasons: first off, it is always difficult to get any photos of my daughter, so I was pleased with the opportunity to get some spontaneous shots, and second, I loved the texture of the bark of this gigantic pecan tree. I held the photos for some time, just not knowing how to scrap them. I have to admit that I get use to scrapping one photo at a time, as I feel there is often times much more impact when you can concentrate on just one image. In this case, however, I felt a layout created using multiple photos, told the best story.

AASPN_FotoInspiredDoubleTemplate8

Templates always make the job of putting together a layout so much easier.  It must also be remembered that the versatility of a template is its ability to be modified.  The template I decided to use was rotated 90 degrees.  In addition, I swapped two of the masks, to better work with the photos.  I used FotoInspired DoubleTemplate No. 8 by Anna Aspnes.

Climb-deconstructed_1_600

I attached the photos to the photo masks of the layout, and placed two ArtsyKardz to be used for journaling, applying shadows to both.  I used the PSD files, slightly re-coloring layers to best work with the colors within the photographs.  The third ArtsyKard was attached to the center photo mask of the template.  I then added the journaling, I applied a neutral Weathered Neutral paper for the template background, added the epoxy brad, and word strips.  At this point I decided to reduce the scale of the entire layout, allowing me to add the green weathered neutral paper behind the template, and edged it with the lined overlay, changing its color.  I added the title “CLIMB!” using the NotebookAlpha.

Climb-deconstructed_2_600

I wanted to add a bit more impact to the layout, so.  I added the 12×12 fotoBlendz just on top of the template background paper, changing its color, blend mode and opacity.  I added some dripped stains on top of the 12×12 fotoBlendz, making them white, playing around with the blend modes and opacities as well.  I took a stitched LoopDaLoop and angled it so that two of the loops encircled my daughters face, and finished up adding a flutterby tattoo to the center ArtsyKard.

Click on the layout to go to Oscrap gallery for product credits.

Click on the layout to go to Oscrap gallery for product credits.

Heritage with a Twist

When you imagine a Heritage page scrapped, most people immediately think in terms of neutral beige, brown, off white, etc., along with loads of ephemera in layers throughout the page, sepia toned photos, and possibly torn and tattered elements.  Seldom does color come into play, unless it is that slight, unexpected splash that maybe leads your eye through the page.  I have to say that I love those pages as well, however, I also love to see something different thrown into the mix as well.

Every so often I have a photograph that is just so special that I want to make certain I do it justice when I scrap it, and this photograph is definitely one of those photos.  I used a great many kits to complete it, but the inspiration came from the new package released by Anna Aspnes this past week:  ArtPlay Palette Enroute, Enroute No. 1 (brushes), and Enroute Sampler.  The hues of dusty aqua, and grays were so inviting, that I immediately thought of this photo.  Here is the finished page:

School Girls

School Girls

I didn’t start out thinking the page would end up like this, but am so happy with the final result. I began with the background paper from the Palette, and placed upon it, the photograph in the torn frame. I began by blending the photograph within the frame, applying blend modes to see what looked best. I didn’t like the result, as the black and white blended image just didn’t look right.  I decided to try making the photo with a blue tint.  To do so, I first attached a textured blue solid to the fotomask, and then changed the blend mode of the photograph, attached to it, to luminosity.  This caused the photo to take on the hue of the paper. I blended from the photo, the children’s outlines, but I also wanted some of the background of the photo to show through as well, so I created a second photo layer, and again, using the luminosity blend mode, began blending in the entire photograph, just slightly, until I got enough of the background, thus giving a somewhat dreamy look.

using un-blended original photograph

using un-blended original photograph

I then begin dragging into the layout brushwork, transfers and elements that I believe would go well.  I added an edge overlay, changing it’s color to a pale yellow.  Under that I added two edge transfers, bringing in additional neutral colors to the right edge.  I began layering element to the bottom right corner of the photograph, plus a few fotomasks directly on top of the background paper, changings the color to a blue, and modifying the blend mode and opacity to deepen the color around the photo.

Added brushwork, transfers, elements and edgework

Added brushwork, transfers, elements and edgework

Once I am almost done with a layout, I typically look for what might be missing, or what items I could add to polish up a layout. I decided adding the brushwork of the tape measure numbers, the ScriptTease text along the right border, and the lace along the bottom edge of the photo would be perfect to finish it off. I can have the tendency to add too much, so I am often adding and removing items to find that right balance.

Finished Layout

Finished Layout