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Medium:Archival digital limited edition photograph


Using one image to make two superimposed images

System - CS4.11

To demonstrate how much work can go into creating even an apparently
simple image, I have listed the develpment of this photograph in working order.

Photoshop CS 4.11 incorporates the 'camera Raw 5.0 toolbars and controls which appeares together with your image automatically when you open a raw image. Earlier Photoshop programs require you to download 'Adobe 3.1 Raw', to extract the plug-in from photoshop and replace it with the download, there were on site instructions but this was testing for beginners.


For the purposes of this demonstration, we start with Camera Raw 5.0 (as above).The initial image was in colour, shadows on a grey road presented subtle colour tints.

1   Firstly sharpen the image to adjust the quality of the detail, use the amount tool.    This is an optical illusion made by interpolating the pixels, extra pixel are added to make a more graduated step between the pixels.

When adjusted in the extreme the surface can look spotted and an effect made similar to posterising.  The radius tool will modify and soften the surface, the sharpen tool will further adjust the effect. Look at an enlarge detail of the image to see the changes, but constantly pan out to see what is beyound the human eye to see.


2   I look at the colour temperature control (usefull for flesh tones and correcting the green of grass, often too blue and rather synthetic in appearence.

3   Small adjustments in exposure (so helpfull when many images are made in quick succession.

4   Adust brightness slightly and contrast only minimally if at all.

5   Lastly adjust saturation while watching closely.

6   The Post-crop vignetting tool was employed to creat the spotlight effect.  Amount, roundness and feather (a wonderful refinement).

Vignetting focuses the eye and may be use subliminally so that the viewer is not awarethat it has been applied.

7   Open the image into your working system, i.e Photoshop and make a duplicate layer.Some tools will not work on a single layer and this also saves your original should you wish to revert to it.  In this example we will work with both layers and duplicate thebase layer (resulting in three layers).


8   Reduce the opacity of the top layer (in the layers palett).

9   Go to edit - Transform - Perspective - to change the dynamic of the top layer while watching how it interacts with the second layer.

10  Go again to transform - apply warp to widen the top image.  This may leave untidy image edges, using the warp tool. these can be pulled beyond the boudaries and out of view.  If this distorts the composition and you wish to keep the composition as it is, these areas can be 'cloned out' using the cloning tool (this requiresexperience but it is also very affective).

11  Experiment with the transparency of the top layer.

12  Change the layer style of the top layer to luminoscity.

13  Duplicate the bottom layer (you now have three layers) and switch the position of the top two layers so that the second layer is now the top layer. Switch the base layer off.

14  Go to Image - Hue/Saturation, adjust the hue control.  In this example, this made aviolet/grey in the shadow.  I used the saturation control to reduce the colour towards a monochrome but with subtle colour tints visible.

15  The warp tool was used again at this point to stretch the image upwards in order tocreat the composition I wanted.


I had at this point decided to entitle the image 'Walk'and was surprised to find that the overlapping images made a 'W', an invasion of the metaphysical!


16  The layers were then flattened again, and a duplicate layer made.

17  Working with the top layer, go to image - invert.

18  Go to image again then to invert.

19   Go to Hue/Saturation to enhance the colour tints ( I reduced the saturation to contiue the development of subtle colour tints - with the image inverted.

20  Go to image then to equalize.


21  Now I inverted the image again to make luminous lights and darks that appear as a golden sienna (this also enhanced the textures).  Photo filters make a similar effect as long as luminosty is retained (retain luminoscity control).

22  Change the layer style in the top layer to luminosity.

23  This was then changed to 'pin-light' in the layer style (observe the difference).

24  Switch the base layer 'on' and experiment with the transparency of the top layer, this will allow the monochromatic base layer to modify and enhance the colour tints.








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