Creating a Lens Flare Effect and Dust Particles in Photoshop

By: Sarah Hipwell 

This article isn’t about how to magically transform your images using Photoshop. The real magic of Photoshop is trying to convince the viewer that no effects were added at all, and that the image was captured in camera. Photoshop can add that little extra to your imagery. Conversely, it can also ruin an image if it’s overdone. I shoot to capture the best possible image as I can get at the time, but more often than not, time is not on my side. If I am shooting for a client, time is money. Deadlines and strict schedules are uppermost when dealing with a client. When shooting outdoors, I am dealing with natural light which is constantly changing and weather conditions, which may force me to shoot faster or abandon the shoot completely.
So, when I get to look at my image(s) on the computer, I take the time to critically review them. As I shoot RAW, I need to apply basic post-processing to all my images. In some cases, I may need to add an extra enhancement, but that will depend on the image and what I need it to say.

Lens Flare and dust particles added using Photoshop

This is the power of post editing. To be able to add an enhancement to the image, to give it that extra drama or a desired effect that you wanted to convey in your image in the first place. It can be as subtle as adding dust particles, or a bit more dramatic such as a lens flare effect. Both of these effects, whether you use one or both together, can add that little bit of oomph!
When applying any Photoshop effects, It’s not just about technique, although the know-how is important, but it is the application which is key:

• How to execute the technique – different methods to achieve the same end result
• When to use it – some images suit this technique over others
• By how much?

Before

After

The above may sound quite obvious and fundamental, but I can’t stress it enough, especially if you are new to creating effects in Photoshop.

• HOW = the technique. I will demonstrate how to create a lens flare effect non-destructively in Photoshop using the Lens Flare filter. I will also describe how to create your own simple custom dust particle brush. Plus, I’ll show you my own unique in-camera method to capture dust particles.
• WHEN = you deciding if this technique will work on the particular image in question. Just because you know how to use a technique doesn’t mean you have to apply it to every image. Yes, by all means practice on your images until you have refined the process.
• HOW MUCH = knowing how little of the technique to apply – less is more. Don’t be afraid to reduce the opacity on the layer that you have applied the technique on.

This is where beginners can get carried away when learning post-processing techniques in Photoshop, for the first time. As tempting as it is, you want to show off your new skill and see the effect on your image in a dramatic way, try and keep it subtle.

What is Lens Flare?

Flare is particularly caused by a very bright light sources either in the image – which produces visible artifacts – or shining into the lens but not in the image – which produces a haze. Most commonly, this occurs when shooting into the sun (when the sun is in frame or the lens is pointed in the direction of the sun), and is reduced by using a lens hood or other shade. – as seen in Wikipedia
If applied well, the lens flare effect really does convey that good-feeling summer shot.

The Lens Flare Filter in Photoshop

The Lens Flare filter is found under Filter > Render > Lens Flare.

The Lens Flare is found under Filter>Render>Lens Flare. However, this doesn’t work in the same way as an Adjustment Layer, as in non-destructively. The effect works directly on the image itself. It also won’t work on an empty layer. So, create a new layer above the image and fill it with black. Change the blend mode to Screen. Go up to the Menu Bar and go to Filter > Render > Lens Flare.
As you can see in the image below, a small pop up dialog box appears with a preview window, and shows the four different types of lens flare available. Click inside the preview window to move the Lens Flare to whatever position you want.

The Lens Flare dialog box.

This is the 50-300mm zoom Lens Flare effect on a layer filled with Black.

This is the 105mm Lens Flare effect on a layer filled with Black.

Lens flare applied

Tip: To get a more precise position for the lens flare, bring up the Info Panel, and move your cursor over the spot on your image where you want the flare to be positioned. The x and y coordinates tell you the exact position in pixels. When you have the Lens Flare dialog box open, click on the preview window while holding down the Alt/Option button, and the precise Flare Center dialog box appears. Type in the x and y coordinates and click OK.

The precise Flare Center dialog box appears when you click on the preview window of the Lens 

Flare while holding down the Alt key on a Mac (Option on PC).

How to create your own custom dust particle brush in Photoshop

To create your own custom dust particle brush in Photoshop is relatively simple. Open a new document in Photoshop, I made mine 800×800 pixels on a white background, set the dpi to 240 or 300. Use a small brush, hardness set to 25%, and use the color black. Create random small dots on the canvas. Not too many. Go up to the Menu Bar > Edit > Define Brush Preset. Type the name of your new brush and click OK.

Create a new document with a white background 800px x 800px.

Go to Edit > Define Brush Preset and name your new custom brush.

Before you start using your brush, you need to change a few properties of the brush so that it behaves like dust particles. Go up to Window > Brush. This brings up the brush dialog box. Use the following brush settings (see below screenshots also) Change the spacing to 100%, click on the Shape Dynamics box and move the Size Jitter and the Angle Jitter sliders to 100%. Next click on the Scattering tick box. I moved the Scatter slider over to 500%. Tick on Both Axes. Keep the Count Jitter at 2.

Create a new blank layer over your image and fill it with black. Using the custom brush, set to white, start creating dust particles across the canvas. Change the blend mode to Screen and now you can see the dust particles as white specks. Add some Gaussian Blur and reduce the opacity down to around 75%. You can always add a new layer to build up the effect too.

How to create dust particles in-camera

I have to admit, this technique made me smile. I had been wracking my brains for a while for a possible solution to capture dust in-camera. The other morning, I got up early, as usual, to get my girls off to school. I looked out the kitchen window, the skyline was a lovely orange from the sun.
I then noticed all the specks (dirt) on the window and I had an eureka moment, I grabbed my camera and I focused on the specks using an aperture f/4. I also underexposed it by two stops. I wanted the specks to show through a dark background. I brought this image into Photoshop and applied a Levels Curve Adjustment to darken the image even more. I placed this image on the photo of the Gorilla. I then changed the blend mode to screen. I added some Gaussian Blur and reduced the opacity. Not bad for what is essentially dirt on a window.

Dust and dirt particles on a window.

The image of the Gorilla without the Lens Flare effect and dust particles.

Zoomed in area to show the dust particles I took of my own window!

Disclaimer: I had to persist with dirty windows for weeks in the name of photography. That’s my story and I am sticking with it!
Have you got a technique for creating your own flare or dust particles in Photoshop? If so, please share in the comments below.

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How to Add a Sun Flare to Your Images Using Photoshop

By: Yacine Bessekhouad 

If you read my previous article where I give you some tips for doing more spectacular sunset photography, you’ll understand that I love taking photos during the magic hour. For my portraits, I also book my sessions during that time because the light is very soft and flattering. There is one thing I particularly like to do when I process my images and that’s adding a sun flare to my portraits and landscapes. I love to use Photoshop to recreating a scene that would have ideally been there in real life.

I added sun flares to this portrait to add depth.

It’s difficult to not underestimate the effect of a sun flare but it really does make a big difference, especially if you like cinematic results to your images. They’re a great way to add color and depth to your images.

Analyze your image first

The process of adding sun flares is actually quite easy, it only takes two steps and a few minutes. The most difficult thing however is to get a realistic result. You need to analyze your image before doing anything. Start by looking at the position of the sun, how the shadows and highlights are wrapping around your subject.
In the image below, I added a sun flare on the left, but before doing that I noticed that the highlights were hitting the Taj Mahal from the left and the shadows were in the right side of the monument. If I were to position the sun flare on the right side of the image, the results wouldn’t be realistic because the highlights and the shadows wouldn’t correspond to the direction of the light of my sun flare. Try to consider the position, direction and intensity of the light.


This is another example of a GoPro image I took. I added a sun flare on the right side of the image because the sun was positioned there in real life. We’re not trying to create another sun, we’re just enhancing it with more colors and more intensity.

In this portrait, I added a sun flare to the left of the model. The result looks realistic because you can see the orange flair spreading and lightning the hair of the model but her face isn’t affected.

How to create and add a sun flare in Photoshop

It’s actually quite easy to add a sun flare in Photoshop. Start by opening your file in Photoshop and creating a new empty layer. The next step is to analyze where you want to place your sun flare and how strong do you want the effect to be. In this case, I want to place my sun flare in the top right of the image and make it pretty big. The sun was actually setting in that position but I am not completely satisfied with how it looks. I want to make the flare more vivid and more intense.

Select the Brush Tool and pick a color

The next step is to select the Brush Tool with an opacity and flow of 100%. Make sure to select a soft brush with a hardness of 0%. I usually like to pick my own color of the sun flare, the color code I use is #fd9424, but there are different ways to pick a color for the sun flare.
You can use the Eye Dropper Tool and select a color from the image by pressing I on your keyboard or by selecting it in the tool box on the left (the chosen color will automatically be set in your palette). Or after you have created the flare, you can create a hue/saturation adjustment layer only affecting that layer and just playing around until you find a color you like.

Adding your flare

To create the sun flare, the first step is to simply create one brush stroke (you just have to press once). Make sure your brush is quite big. So far your image should look something like this:

The next step is to go to blending modes for your current layer (the layer with the brush stroke). The default blending mode is normal, you need to change it to Screen. The screen blending mode by definition will invert both layers, multiply them, and invert the result. Your sun flare is going to get brighter and blend in with the sky after you do that.

Transform

The next step is to select your layer with the sun flare and press CTRL/CMD+T to transform (resize) it. A little box will appear, you want to drag the corners to make it bigger. How big you want to make it depends on your image and your desired effect. The sun flare will affect the whole image if you make it too big and will brighten up the shadows.
Using a brush tool on a new layer is really helpful because you have full control. You can change the position, color, brightness, or saturation of your flare whenever you want by creating new adjustment layers that only affect that layer.
If you think that your effect if too strong, you can reduce the opacity of the layer, if it is not strong enough, you can duplicate the layer. Always remember that the effect should be subtle otherwise if will look quite unrealistic. We are just trying to create a scene taking in consideration how light works.

Your turn

Now you try you hand at adding a sun flare to one of your images using Photoshop. Please share your images and any questions in the comments below.

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How to Correct Skin Tones Using Lightroom’s Color Curves

By: Erin Peloquin 

Lightroom gives you a million and one ways to complete most photo edits. Having options is important. No two photos are alike, so no two edits are alike either. In this article, I’ll show you how to correct skin tones using Lightroom’s color curves.
There are times when the best way to edit color in general, and skin tones in particular, is to use Lightroom’s Color Curves. After reading this tutorial, you’ll be able to; measure RGB skin tone numbers to give you a general idea of which edits your photo needs, and correct the color issues using Lightroom’s Color Curves

Finding the color numbers

The image below is a photo that came out of the camera with a pretty good white balance and skin tone. Do you see the numbers under the histogram? Those are Red, Green and Blue (RGB) numbers.

You can display the RGB numbers for your photos too. In Lightroom’s Develop module, hover your cursor over the area you want to measure. Look under the histogram for the corresponding RGB measurements.
These measurements tell us that the pixels next to the arrow in the screen shot had the following measurements:

• Red: 73.1%
• Green: 67.1%
• Blue: 60.5%

RGB numbers are usually measured on a scale of 0-255, unless you are working in Lightroom. In Lightroom, you generally see them on a percent scale. 0% is the darkest value for any color, it’s so dark that there is no visible detail in that area. 100% is the brightest, and is so bright that no detail is visible.

Analyzing the color numbers

When analyzing RGB numbers for skin tone, look for the following indicators:

• Red should be higher than Green. Green should be higher than Blue. This pattern is universal to all skin tones, regardless of age or ethnicity.
• Each color should have at least a 2% difference, usually more, between it and the next number. Do you know how to identify a pure gray? That is a pixel that measures exactly the same in its Red, Green and Blue numbers. So skin whose RGB numbers are very close to each other is going to look gray. Not very appealing, right?
• If any colors measure 94% or above, you probably have overexposure to deal with.
• If any colors measure 6% or below, you probably have underexposure to deal with.

The RGB numbers in the photo above are consistent with expectations. This means that the skin is within “proper range” of a well-exposed photo with good white balance.

What do to with bad numbers?

What happens, however, if your photo doesn’t look so good straight out of camera?

In this photo, the measurement point was just next to the arrow on her forehead. The numbers read: Red 93.8%, Green 92.5%, and Blue: 93.6%.
Anytime you see a photo with skin tones that measure like this, your eyes are going to tell you that something is off before the numbers do. The benefit of using the numbers is that they give you the direction to which your edits for the image need to go.
The numbers in this photo cause concern because:

• Anything higher than 94% or so in Lightroom is bright enough that your image, if you print it, might not render good detail in those areas. That means that these areas are too bright.
• Blue is higher than Green. Red should always be the highest and Blue the lowest otherwise the skin tone will appear cold.
• The RGB numbers are too close together – they are approaching gray. This skin in this photo is lifeless as a result.

Correcting the skin tones

To fix this image, you would start by tweaking exposure. Proper exposure is a huge component of proper skin color. In fact, it’s often impossible to assess skin tone issues correctly without correcting exposure first.
A little-known bit of Lightroom awesomeness is that it’s easy to correct exposure while keeping an eye on the RGB numbers. In the Develop module, double click in the numeric entry field for Exposure so that the number is highlighted. Next, hover your cursor over the area of skin you are measuring without clicking. Use the up or down arrows on your keyboard to change exposure until a more appropriate measurement for the Red value appears under the histogram.

Adjust Highlights (or Shadows, Whites, or Blacks) in the same way. Activate the numeric input field for editing then hover the cursor over the arrow you want to measure. Use the arrow keys on your keyboard to increase or decrease the adjustment.
Exposure for this photo is better with the adjustments you see above, but color is still off. When the RGB numbers are as close together as you see here, it’s often better to use Color Curves than the White Balance sliders to fix the issue.

Using Color Curves instead of White Balance Sliders

Color Curves has two major advantages over the white balance (WB) sliders.
You might have noticed already that Lightroom measures three colors (red, green and blue) for each pixel. However, the White Balance sliders don’t allow for editing the most important component of skin color – red. But, you can edit Red tones using Lightroom’s Color Curves.
The other big benefit of using Color Curves is that you can adjust colors in limited parts of the tonal range. For instance, if you reduce yellow in an image using the Temperature slider in the White Balance section, you are reducing yellow globally (everywhere in the image equally). Using Color Curves, however, you could reduce yellow only in the shadows, without taking away the yellow that properly belongs in the mid tones and highlights of an image.
To find Color Curves in Lightroom, scroll down to the Tone Curve section. By default, it shows you the parametric curve, which looks like this:

Click on the small button in the lower right corner of the Curves panel to access the Point Curve. (It’s circled in the screen shot above.)
Now you are looking at the Point Curve interface:

Using the Channel drop down menu, select the color you’d like to adjust.

Which color channel to edit?

At this point, you may be wondering about adjusting colors other than red, green, and blue. For instance, what if your photo has too much yellow or orange? Think about it like this.
Each of the three colors measured in Lightroom has an opposite:

• Red is the opposite of cyan
• Green is the opposite of magenta
• Blue is the opposite of yellow

Reducing any one of those colors using Color Curves, increases that color’s opposite. In other words, reducing blue is the same as increasing yellow.
Looking at the Curves panel, do you see the histogram behind the straight line? When you click and drag the straight line to create a curve, this tells Lightroom to adjust the pixels corresponding to that part of the histogram.
Say, for instance, that you wanted to add blue to the mid tones of an image. You would select the Blue channel and click the line in the middle of the histogram, where the midtones live. Dragging the line up would add blue to the bright parts of your photo’s tonal range.
Dragging up increases the color the channel is named after – blue, in this case. If it increases blue, that means that it’s also decreasing blue’s opposite, yellow.

Dragging down decreases the color the channel is named after.

Using the Targeted Adjustment Tool for Curves

That’s the way it works in general. But you can get much more precise color control by using Lightroom’s Targeted Adjustment Tool. Click on the button at the top left corner of your Curves panel to activate it (circled below).

Hover this tool over the spot you’re using to measure the skin tone in your photo, but don’t click! Use the up and down arrows on your keyboard while keeping an eye on the RGB numbers beneath your histogram until the both the appearance of the photo and the RGB numbers improve.
Moving the blue curve down, as in the screenshot below, provides better separation between the Green and Blue measurements. It also gives the photo the warmth it’s lacking.

If the image still lacks vibrance, as this one does, move to the Red curve and increase the Red channel. Adding a touch of red is the best way to counteract gray skin.

Next, decreasing green (to add magenta) makes the skin color, as well as the corresponding RGB numbers, look just about right.

Tweaking things

However, the warmth of the plants behind them is overpowering the subjects. To downplay it, return to the Blue channel.
Using the Targeted Adjustment Tool, add Blue to the the shadows by hovering over a dark area of the photo and hitting the up arrow on your keyboard.

Compare the original and edited photos here:

Before

After

Editing your own images with Color Curves and RGB numbers

Keep the following tips in mind when editing your own images.
#1 – First, a big caveat to anyone who has heard that using RGB numbers to edit will solve all skin tone problems! There are as many proper RGB measurements as there are people in the world. As you study RGB numbers, let trends in the numbers and generalities guide your edits, but don’t try for an exact numeric match.
#2 – Measure skin tones in the middle range of brightness. Look for mid-tones rather than bright highlights or deep shadows. Also avoid measuring on cheeks, the end of the nose, or other areas that are usually redder than others.
#3 – In general, when I’m editing photos, I look for tones in these ranges:

• Red is highest > Green is middle > Blue is lowest – always.
• The Red channel is usually between 70% and 90%. Very light skin can be as high as 94%. Very dark skin can go as low as 40-50%.
• The Blue channel is usually between 30% and 80%.
• It’s not possible to generalize how many percentage points difference should be between Red and Green, or Green and Blue. However, skin that has warmer tones will have less Blue in proportion to Red and Green.

#4 – Small movements of your tone curve impact your image dramatically. Don’t go overboard!

Studying the patterns in the RGB numbers of your photos is a great way to develop your editing eye. Everyone has photos that aren’t quite right. Analyzing the relationship between the numbers and the appearance of the photo will help you get to the point where you can eyeball a photo’s needs without referring to the RGB numbers at all.
Any questions? We could talk about this topic all day. Comment below and tell me what you think.

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Ready to Upgrade Your Kit Lens? Tips for Which Lens to Invest in Next

By: Simon Ringsmuth

Most cameras come with a kit lens that generally works well as a decent all-around workhorse. A common focal range for these lenses is 18-55mm, which means they are capable of wide-angle shots as well as medium-telephoto pictures, and everything in between. The tradeoff for this zoom range, however, is a limited maximum aperture range of roughly f/3.5 when zoomed out (18mm), and f/5.6 when zoomed in to 55mm.
Of course some kit lenses cover a longer focal range and have different maximum apertures, but overall most kit lenses are designed for the types of all-around shooting conditions in which you may often find yourself. While this is not necessarily a bad thing, it does mean that the kit lens is more of a jack of all trades while being the master of none, and after a while you might start wondering what other options are available to you and how they will affect your photography. This all begs the question: which lens should you buy when you want to upgrade from the one that came with your camera?

A 35mm or 50mm lens can work well for shooting portraits

Lenses are like apps

Think of lenses like different apps for your camera, and just as apps on your smartphone or tablet have specific functions, each lens is designed to meet a specific set of photographic needs. Next, think of the kit lens as a basic set of apps you might find on a device. It does many things well, but doesn’t really unlock the true potential of your camera. For some people, that’s fine: they don’t feel the need to install new apps (i.e. buy new lenses) and instead only use the ones that come with their device.
But when you start exploring the myriad of apps available for phones and tablets you might wonder how you ever lived with your device’s basic apps at all! The same holds true for lenses, but there is one key area where the analogy breaks down – price. When you start looking around for lenses, you might find that your vision quickly outstrips your budget! The choice, then, is this – which lens should you buy after exhausting the possibilities of the kit lens that came with your camera?

Wide-angle lenses are great for capturing photos of natural landscapes and other outdoor scenery.

Know what you need for the photography you do

The answer, unfortunately, is not as black and white as it might seem. While there are hundreds of options available, what you buy ultimately comes down to your unique needs and style as a photographer. After using your kit lens for a while, you will hopefully have an idea of what type of photography you enjoy most: landscapes, architecture, portraits, nighttime long exposures, pets, sports, weddings, etc. Or maybe you do a combination of everything! Before spending hundreds of dollars on another lens it’s important to know what will suit your needs – much in the same way that purchasing a vehicle is a matter of finding one that works for you, as opposed to simply buying the same car that all your friends have.

A lens with a wider aperture will enable you to shoot get nice blurry backgrounds that are not always possible with a kit lens.

Prime lenses pros and cons

My first bit of advice, though, is to find a prime (non-zooming) lens that can accommodate your shooting style. If you take a lot of landscape and outdoor shots, you will likely want a wide-angle lens with a focal length of around 10-20mm (for cropped sensors, 15-35mm if you have full frame). For portraits, anything between 50-100mm is a good choice. Sports and wildlife shooters tend to use lenses that are on the telephoto end, such as 100-300mm. Remember the tradeoff between zooming and aperture I mentioned in the first paragraph? If you eliminate the zoom functionality you will find plenty of lenses with much larger apertures, which will let in much more light and allow you to use faster shutter speeds, as well as capture pictures in low-light situations that might not otherwise be possible without the use of a flash.

Prime lenses can’t zoom, but you gain the ability to shoot in dimly-lit situations without the need for a flash because they often have large apertures.

It admit it can be a bit nerve-wracking to use a lens that can’t zoom in and out, but once you try it you may find a whole new world of photographic possibilities that you never knew existed, thanks to the larger aperture. Remember that you haven’t lost the ability to zoom, you can still move yourself around physically, which is another fantastic way to explore and stretch yourself as a photographer. You can often find prime lenses for a couple hundred dollars that will suit your needs exceedingly well, though even prime lenses with longer focal lengths could easily push the limits of your budget.

It might be small, but Canon’s 40mm f/2.8 pancake lens packs a big punch.

If you would like to upgrade from your kit lens but are not entirely sure exactly what your individual needs are, I would recommend one of the following. All are fairly inexpensive as far as lenses go, and will suit a variety of photographic situations, though they are not the best for sports and wildlife due to their somewhat short focal lengths:

• Canon 24mm f/2.8 – and the newly released pancake version at only $149 US
• Canon 40mm f/2.8 (pictured on the right)
• Canon 50mm f/1.8
• Nikon 35mm 1.8G – get the DX if you have an APS-C or cropped sensor, get the ED if you have full frame.
• Nikon 50mm 1.8G

Zoom lens options

You can buy prime lenses with longer focal lengths, but they can easily cost many times that of their cheaper counterparts. If you decide you absolutely cannot live without the zoom functionality, I would recommend going with a lens that covers one end of a focal range (i.e. wide-angle to medium telephoto) rather than one that covers both ultra-wide and ultra-telephoto. Of course this is all subjective, and there are as many opinions on this topic as there are photographers. In my experience lenses that try to cover as many focal lengths as possible are generally not as sharp as their more limited counterparts, unless you are willing to spend hundreds or even thousands of dollars. Lenses I would recommend include:

• Canon 75-300mm f/4-5.6
• Canon 28-135mm f/3.6-5.6
• Canon 24-105mm f/4
• Nikon 18-105mm f/3.5-5.6
• Nikon 55-300mm f/4.5-5.6G

There are also many other really good third party options available. The options are almost endless so I’ve stayed with the two big brands here, but you can also look at Sigma and Tamron who both make some really good lenses also.

Deciding

The more you are willing to spend on a lens, particularly a zoom lens, the more features it will have like: image stabilization, higher-quality glass elements, weather sealing, and larger maximum apertures. These lenses are just the beginning. The sky’s the limit when it comes to upgrading your lens, and it’s important to not overlook options like simply borrowing one from a friend, buying older gear, renting, or even looking online for used equipment. Whatever you decide, it’s important that the lens is right for you and your photography goals, but chances are if the kit lens is too limiting there is a fantastic one out there with your name on it, waiting for you to come and explore what it can do for you.

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Want to ‘Sell your Photos Online’?

Stock Photos are a great source of passive income, as long as you don’t offer exclusive licensing rights to websites. Though ‘Exclusive Licensing’ helps make more money selling your photos, it restricts you from selling the same elsewhere.

Want to know more?  Check out this site I found. They have 21 sites that will pay you up to $100 per image.   
https://hearmefolks.com/sell-your-photos-online