Okay, I'm going to show you some more techniques using the same strategies that I use for making a sepia-tone print.

So, I'm just going to jump right into in here and go to image adjustment, hue saturation, and with this image we’re going to create a nice sepia tone. And if you remember the numbers are 25, 25. For an average sepia, you can bring this down a little bit but let’s stick with 25 for the sake of this image. Then we’re going to filter, noise, add noise, just going to have lots of noise. And this is exactly how I presented this image. These are strategies I used for this image.

I think I would lighten this, that’s probably—it is what I did. I’d lightened the areas and the mid tones by opening the curves palate and bringing in a job like that. So it’s much brighter, and you can easily go and just dodge a little bit, just so that the center of action, the center of attention is going to pop out a little bit more. It’s very simple. Very, very simple sepia, add noise, for a very strong impressionistic look in print.

We’ve got the same couple this time, here in the water, so we got that blue watery Caribbean look going on. So we’re going to hue saturation again. But this time, we’re not going to sepia print. Let’s pick a Bleu. This is exactly what I did with this shot for the wedding outlook.

You know what? I'm going add a little soft focus to this. It needs a bit of softening. Now there is this soft chart that runs softer, and hopefully it works. This James is old, self-focused action. He has replaced since then with the NoBs Hodgysoft, but I like both of them. I find both work really, really well. These little partial Hodgysoft, but you know, I'm sitting on a fence. I'm happy with both of them

So we’re going to dress the guys and blur and that’s part of the action. Next step of course is the history blush wherever we erase, depending on the opacity right here. We will determine how much we erase, we’re don’t want to get rid of it too much because we wanted to have that soft flow look.

Now, you can do this. We’re going to blur motion blur, and you can get your angle going in the direction of the motion is supposed to be going, right. So we don’t want to go opposite of the green, we want to go with the green. So if you look—so if you just re-distance your angle, it’s a little bit tricky here—I’m using the up down arrow now to adjust the numbers on the angle, of course that looks not good, I mean it looks like, you know, it looks awful. So we’re going to go back in history, click on motion blur with my history brush into the state, wherever I erase, that’s where the dots state will reveal itself. I’m going to use a low opacity. Just give it a little blur, so blue like as if it’s raining down water on our little love birds there. So we’re going to enhance the effect of the motion.

Simple, simple tools, you know, when you think about it, it’s just ridiculous and simple. Most of the tools available there in the PhotoShop are like right there. So once we do that, we can go into filter, add noise, give it a nice paint feeling. You don’t have to add noise but I remembering in this picture, I did when I created it for the wedding album.

So, let’s just look at this. We got a lot of what’s going on there. This is for fun. I will show you this, use your selection, rectangular marquee tool with the zero feather. This is an old strategy. One of the strategies that we we’re totally captivated with when we first got into PhotoShop, and then you see there is only one layer, so if you’re going to layer new, layer the copy, which is CTRL-J, so I’m going to CTRL-J right now, that’s going to create a copy of that selection only, and of course this is old stuff for some of you guys. You’re probably laughing right now if you’re already buff me through the monitor here. So I'm going to go to monitor and our blend mode, I mean normal, and I usually bring the distance down to spread up the size, just the size for a nice drop shadow.

You know, it’s corny but its cute. I'm flatten that image now, and that’s the strategy that we use to used all the time when we first got into digital, was making selection and all these funky borders all the way around. It’s good to know. It’s really good to know.

Okay, this image here has already been worked on and here’s the original so I’m going to show you what I did using the same strategies again. So this image is for albums and I did get one that was probably exposed. Yeah, I did this on a purpose. Yeah, that’s it. I underexpose them on purpose because I wanted to specifically do this. So let’s go to the levels, and you can tell, there are no highlights, and we’ll bring them up just a bit, not too much.

So you could see there’s a lot of funky colors going there so I’m going to go to image adjustment and hue saturation, we’re not going to touch colorize, just going to really throw out the saturation. It’s all I did. Go to history, back one, click on the history palette and then start erasing certain areas in there to get a cool effect. I'm getting flashbacks to the 70’s now.

We won’t be exact, but you know what? I think what I did was I went to image adjustment, then I want to colorize, and I beefed up the blues—that’s not blue, that’s purple. There we go, go back and we’re going to use the same strategy and beefed up the blues. Of course, we’ll go to the burn tool, and simply enhance it all that way.

Wrong image, let’s go CTRL L or levels. I'm going to beef it up a little more, and I'm going to go in here, and I'm going to dodge the bright. There is the depth and I'm going to go in on overall image saturation.

That’s not exact, but this is what I did to get to this. These are some of the strategies. You know sometimes it’s freestyle and you just don’t remember what you had, what exactly was you did to make it happen. So, I’m going to run softer on right now and the softer is running slow because it’s a bigger image, I forgot to downsize it, so maybe I’ll just talk about James right now—no, I’ll talk about somebody else. Let’s hope that’s right.

Okay here we go, so we got again, history state, we’re going to erase some of that away and we’re going to do a little bit noise, maybe not that much for this particular image. So I know I did that much. I just had added a little more normal, and of course, I did the rectangular thing that I just showed you a while ago. Hope it’s not positioned properly, so grab it, and move it.

CTRL-J, see we’ve got new layer, drop shadow, on a normal, spread, size, the old strategy of creating that. Let’s just flatten that first. And that was the actual image that the couple got. I mean didn’t do exactly the same, but you’ll get the idea using the same strategies over and over and over again, so I hope you enjoyed that. Goodbye for now.