How To Create A Cohesive Look Across A Photo Series In Photoshop

How To Create A Cohesive Look Across A Photo Series In Photoshop – When creating a layout with multiple colors, it can be difficult to achieve balance in a DigitalART layout. A Hue/Saturation adjustment layer is one way to fix this problem.

You can also use an adjustment layer with a solid color, especially if you want to create a more cohesive color palette. Color adjustment layers are useful because they easily change the mood of a page or photo.

How To Create A Cohesive Look Across A Photo Series In Photoshop

Note that the first image is the original layout. The second image shows the application of a solid color fill adjustment layer to the original layout.

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The color of each color fill layer is shown by a colored dot in the lower right corner of each page. I sampled the colors of the source image using the color picker for the first three examples.

1. Duplicate your schedule. Duplicate your layout by going to Image > Duplicate. Place the original and the copy side by side in the workspace. You must either open a navigator window (Window>Navigator) or float your images in your workspace (Window>Layout>Float all in window) to see both images.

2. Create a solid color layer. With the duplicate image layer selected, go to Layer>New Fill Layer>Solid Color. Set the color to None (this is the default setting). Set the Blending Mode to Color and Opacity to 10%. Click OK. A color selection box will appear.

Note: If you forget to set the Color mode, you’ll see a solid fill layer and won’t be able to pick a color from your photo as described in step 3.

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3. Select a color for the fill layer. Once the color picker box opens, choose the color you like best by clicking anywhere on the color spectrum, or move the cursor outside the box and pick a color from your original layout (the cursor will change to the Eyedropper tool when you move it outside the box). Click OK.

4. Click on the fill layer of your photo. Click the color fill layer on the photo by pressing Ctrl+Alt+G (Photoshop) or Ctrl+G (Elements). If you choose not to clip the color fill layer of your photo, every layer below that layer will be affected by the solid color you selected.

You can achieve the same result by doing Step 1. For Step 2, click the small circle, half white and half black, located at the bottom (Photoshop) or top (Elements) of the Layers panel. When the menu appears, select Solid Color. This will open up a range of color choices. Select a color swatch from the image (or make a random selection) and click OK. This will place a solid color fill layer on your photo. Change the Blending Mode of the Color Fill layer to Color and lower the Opacity of the layer. If you lower the opacity of this layer, you will see the color appear in your photo. If you want to change the color of the Color Fill layer, just double-click the Color Fill layer in the Layers palette. This will open up a range of color choices. If you’re happy with your color selection, go to step 4. Recently, I’ve noticed a few photographers creating images that look like they’re taken from movies. Several of the most prominent photographers in the genre work here in New York, so I gathered them together and challenged them to not only come up with an instantly dynamic personal project that incorporates this cinematic look, but to share with us how they achieved it. Read on to find out how it all happened…

The power of community is HUGE. I wanted to try using it to do two things for this article. First, see how some experts who create a “cinematic” look do it and share those skills with the community. The great thing about this image is that you can apply it to any image, from a street portrait to a landscape image. The content is much less important than the way the image is processed or “processed” (color correction and grading, similar to how film frames are processed before we see them in the cinema). 

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Regardless of your love or hate for the look, I really like the relationship between stills and motion, so it was something I was interested in looking at and thought others might be interested in as well.

Second, I wanted to use the power of community to bring together multiple photographers for a unique project and challenge.

I came across the work of local New York filmmakers Dennis Cacho and Andrew Mauro. If you’re in doubt about the work I’m describing when I talk about cinematography, check out some of their work here:

Andrew, born and raised in Brooklyn and a widely recognized filmmaker, explained how he began to create this image: “Once I wanted more and learned to frame better, I became really interested in the process of coloring my images and making these scenes look like freeze-frames from films”.

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For more information about Andrew, you can watch this short interview recently uploaded by Boulevard Noion:

Bronx native Dennis has also shown a knack for shooting in a cinematic style, as seen in his shots here:

Andrew and Dennis love to tell stories. When I asked them about their motivation for shooting this image, Dennis interjected, “I loved seeing how much a picture can convey and tell a story that doesn’t exist.  What caught my attention in film photography was the framing and dramatic lighting in most of the shots.”

Dennis and Andrew shot with the same cameras that day, but in very different ways. Andrei shot mostly with a fixed Zeiss lens, focusing manually using his LCD screen. Dennis turned on the lenses and shot much more traditionally, through the viewfinder. 

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I was interested to see if I could build (even in a small way) something new in the photography community. This is how our story began.

I went with Andrew and Dennis and we spent a few hours hanging out together while they shot around the streets. Basically the challenge was to tell the story of the city, but interpreted through their eyes, and see if we could tell a cohesive story with both sets of images.

It was a friendly challenge for both of them to see how two photographers can work together, get inspired and use their vision and style to interpret the same scenes in different ways. ​​​​​​While the results may not be completely cohesive, it was nice to see them work together and inspire each other.

Sam’s the Tailor, a true Lower East Side institution. After a few street portraits, he tried to invite us to his shop to try on suits.

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Helen was a character. She lived in the neighborhood for more than 50 years. She had a story or two!

As Dennis points out, it’s much more than just choosing an interesting topic. “It is not only a person, but also the environment.  Sometimes you have to study a person’s movements for a while before taking a picture.  Knowing the frame is definitely a good starting point.”

Andrei had a similar opinion. I asked him about the difficulties of such a shoot. “It’s also important to give the viewer an interesting point of view.” It is not easy to make an interesting picture on the street. You hope your items fall into place, but sometimes they don’t. It’s out of your control, but maybe that’s part of the fun when it all comes together.

Andrew takes portraits of Sam, scouting the street to see if anyone has a suit or three to sell

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Did the boys tell a coherent story? You can decide. Regardless of how successful or not the challenge was, it definitely brought three strangers together and allowed us to have fun and bond over photography for a few hours.

“I met some of my favorite photographers from around the world who came to see me in New York. I have to participate in advertising campaigns for the equipment I shoot on (Canon – Asia), (Carl Zeiss Lens – Germany). I did commercial work for major hotels and businesses all over New York. I’m currently working with Dj Premier on a series of videos called Barkies in the Booth.

“This style helped me get a few paying gigs. I’ve just been asked to do an engagement that’s different from most traditional engagements.”

I asked Dennis and Andrew how they approached it. While both agreed that there is no single magic formula for every shot, as each shot has its own nuances, there was a common approach.

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I start in DPP (Digital Photo Professional), this is where I process the RAW file. I adjust the tones and play with the curves and then import into Lightroom. When I’m in Lightroom, I do more color, perspective correction, and cropping. I go to Photoshop where I do the final touches and