How to Remove People from Your Photos Using Photoshop

By: Jesus Ramirez  

The worst part about taking photos of monuments and city streets is that you always get cars and people blocking the architecture behind them. It can be very distractive, and they take away from the real subject. In this Photoshop tutorial, you will learn a technique that will allow you to quickly remove people and cars from your photos. You do need to plan ahead and take multiple photos, but the results will be amazing!
Photoshop has this little-known feature that has been around for over a decade called Image Stack Modes.
The Image Stack Modes are sort of like a Blending Mode that blends layers inside of a Smart Object in a certain way depending on the algorithm that you select.
One of those Stack Modes is Median, which takes a statistical average of the content found in all the photos in the stack. It will keep identical areas and remove everything that changes between the different shots. It is very likely that cars and people will move and change locations from one shot to the next. Thus, you can remove people and unwanted traffic when the algorithm is applied, leaving only the background.
The tricky part is to get the right photos for this Stack Mode to work. Ideally, you should take your photos on a tripod so that the images line up better during the blend. However, if you do not have a tripod, hold your camera as steady as possible when shooting your images and you will still get great results.
The pictures that we will be using in this tutorial were shot by hand with a mobile phone. I wanted to use photos that were less than perfect so that you could see the power of this technique.

When you take your photos, wait about 20 seconds or so in between each shot. You want to give people and cars enough time to move. In most cases, you will need between 8 to 25 photos.

Bring Your Photos into a Single Photoshop Document

The first step is to bring the image files into Photoshop as layers in a single document. To do so, go to File > Scrips > Load Files into Stack…
In the “Load Layers” window select “Folder” from the “Use” drop down. Then click on the “Browse” button, and look for the folder containing your images. Press OK after you have selected the folder.
The file names will appear within the window (as shown below). If all the files are there, press the OK button. Photoshop will then take all the files and place them in a single document as layers.

Auto-aligning Layers

For the Image Stack to work, the layers need to be aligned as best as possible. If you used a tripod when shooting the images, then your layers should already be aligned. The photos used in this tutorial were shot without a tripod, so we will need Photoshop to align them for us.
To align the layers, select them all by pressing Cmd + Option + A (Ctrl + Alt + A on PC). Then go to the Edit menu and select “Auto-Align Layers.” Make sure that “Auto” is selected, and press “OK.” Photoshop will then look through all your layers to find similar pixels and align them accordingly.

Put Aligned Layers into a Smart Object

Now that all the layers are aligned, you need to put them into a Smart Object so that you can apply the Stack Mode. Select all your layers again by pressing Cmd + Option + A (Ctrl + Alt + A on PC). Then right-click the space on the left side of any selected layers and choose “Convert to Smart Object.”
You should now only have a single Smart Object in your Layers Panel.

The Median Stack Mode

Now that all the layers are inside a Smart Object you can control how the set blends by using a “Stack Mode.” Go to Layer > Smart Objects > Stack Mode > Median.

This Stack Mode takes a statistical average of the content found in all the photos. It keeps identical areas and removes everything that changes between the different shots, such as people walking through the scene.

Faster Way of Doing This – The Statistics Script

You can get to this point in the tutorial by only using one single command!
The reason that I took the long approach was so that you could see what Photoshop was doing behind the scenes. If you get into trouble, then you’ll know what the steps were to create the effect, and you can backtrack to fix the problem.
To do this whole process in a single command, go to File > Scripts > Statistics…
In the Image Statistics window, select Folder you want to use. Click on the Browse button to find the images that you want to use in the Image Stack.
Once the images load, select Median as the Stack Mode, and check “Attempt to Automatically Align Source Images.”

This will Auto-Align the images, put them in a Smart Object using the Median Stack Mode. Getting you to this part of the demo all within one window!

Fixing Image Stack Errors

Problems may arise when dealing with background elements that are always moving, such as water, clouds, or flags. In this example, the two flags on top of the Tribune Tower disappear. We can bring them back by copying and pasting a flag from one of the original images.
To see the original images, go to Layer > Smart Object > Edit Contents. A new tab will open that contains the contents of the Smart Object. Then look through your layers to see which of the original layers contains the best version of the item you would like to replace.
Select the Lasso Tool and make a selection around the objects. With the selection active press Cmd/Ctrl + C to copy.

Go back to the working document and press Cmd/Ctrl + Shift + V to “Paste in Place.” Repeat these steps with any other object that you need to fix.

Create a Smart Object to Hold it All Together

Select the all the layers by pressing Cmd + Option + A (Ctrl + Alt + A on a PC), right-click on the side of any selected layer and choose “Convert to Smart Object.” This Smart Object can now be adjusted or manipulated as if it were a single layer. You can apply the Camera RAW filter non-destructively to enhance the image color and tone.

Camera RAW Filter to Adjust Tones and Color

Select the Smart Object containing all the layers and open Adobe Camera Raw by going to: Filter > Camera RAW. This filter works a lot like Adobe Lightroom. The controls are in a similar layout and do the same things. Lightroom is built from the Camera RAW engine, so it will be familiar to you if you are a Lightroom user.

You can create an HDR effect by darkening the Highlights and brightening the Shadows. Slide the Highlights slider to the left, and the Shadows slider to the right. Slide the Clarity slider to the right. Clarity adds contrast to the mid-tones.
Finalize the effect by adding Vibrance which is a controlled saturation. Vibrance adds less saturation to already saturated areas, and it protects skin tones in portraits.

Crop Your Photo

If you did not use a tripod, you will see that the edges of the photo are likely misaligned. To remove these imperfections, you can simply crop them out by using the Crop Tool. Press C on the keyboard, then use the handles to adjust the size of the crop. Press Return when you’re done.
This is how the final image looks:

Give this technique for and go try and remove people and cars from your images. Let me know how you make out and if you have any questions, please post them in the comments area below. 

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How to Convert a Photo to a Drawing in Photoshop

By: Mark C Hughes 

If you are anything like me, your artistic skills with a pencil are not great. I can, however, take pretty good photographs. So, this technique will show you how to convert a photo to a drawing in Photoshop.
The steps aren’t complicated, but we will use smart objects, filters and blend modes. If you are not familiar with these, check out the related links to learn more about them.
You will need to use Adobe Photoshop for this particular technique and I will be using the current 2020 CC version of Photoshop. Different versions of Photoshop may require slightly different approaches, particularly as it applies to smart objects.

Start with a portrait

To convert a photo to a drawing in Photoshop, I will start with a portrait of a writer I know, Jane Marshall. I photographed this during a recent portrait session. My version of Photoshop is windows-based, but the commands apply to Mac too.
Make sure you are working with an 8-bit image, or some of the filters will not be visible within Photoshop.

Start with the image you want to convert into a pencil sketch

We will be converting the layers into Smart Objects. Converting them into a smart object will allow you to make modifications to each layer.
Before you do this, use the Quick Select tool on the left side. With that highlighted, you can look across the top of the bar (on Adobe Photoshop CC) and use the Select Subject.

This uses Adobe’s Sensei AI technology and selects the subject for you. It generally does a pretty good job.

Mask out the subject

Create a layer mask so you are only working on the portrait

Create a layer mask so that you are only working on the portrait.
To do this, with your selection still made, go to Layer > Layer Mask > Reveal Selection. Alternatively, select the little layer mask icon in the Layer palette.
Clean up the mask by either using a black brush on the layer mask or use the Select and Mask tool. The Select and Mask tool is similar to the prior versions Refine Mask function, but works much better now. Fundamentally, the mask doesn’t need to be perfect, just smooth.
Remember when working on the mask, white reveals and black conceals.

Refine the mask

Once you are happy with the mask, we need to invert the selection, so press Ctrl I or Command I (Windows/Mac) and select the background.
Press Delete and the background will disappear. We will proceed to convert the layer into a Smart Object by clicking on the layer. You can also do this from the Edit menu.

Convert the base image into a Smart Object

You can convert the image into a Smart Object by right-clicking on the layer or going to the edit menu

Duplicate the layers and rename the new layers.
Because the layer was already a smart image, all the duplicates will also be smart images and will be tied to the original layer (more about that later).
There will be four layers above the original layer.
The original layer should be called Original (it will change from “Background” when you convert it into a Smart Object). We will leave that one alone and only work on the layers above it.
Title the layer above the original “Base.” We can call the layer above Base, “Pencil Outline.” The layer above that, call “Shading” and the Layer above that, call “Lines” or “Edges.”
Naming layers makes adjustments easier to keep track of. Smart objects will make the files larger, but will make all the changes non-destructive and editable.

Create multiple Smart Object layers

Once you create the first Smart Object layer, you can create all the additional layers we will need. Turn off all the layers above the one you are working on at the time.

Create the Pencil Outline layer

Turn off all the layers bar the layer you are working on using the Eye icon next to the name of each layer in the Layers palette. In this case, we will start on the Pencil Outline layer. To start the conversion, press Ctrl I or Command I to invert the layer.

Only the layer we are working on should be visible and we need to invert it to create the initial colored pencil effect

Once you have inverted the image, we are going to use the blend mode, “Color Dodge” to create the initial colored pencil outline effect.

The blend mode has created the initial effect, but it is not strong enough

Add a Gaussian Blur

The next thing we need to do to convert a photo to a drawing in Photoshop is to add a Gaussian Blur. We will do this to improve the appearance of the initial colored pencil effect.
Select Gaussian Blur from the Menu bar, by going to Filter > Blur > Gaussian Blur. The amount of blur you add will affect how much of the underlying image appears.

Adding the Gaussian Blur creates the amount of the image that will be visible

Adjust the amount of Gaussian Blur you want, and a color version of the pencil sketch will start to appear.
However, we can improve the image by creating shading and emphasizing some lines.
Adjust the amount of Gaussian Blur to an amount you like, but you want to clearly see your subject.

With an appropriate amount of blur (the amount will vary depending upon your image and image size), the base becomes visible

Make the image black and white

While on the Pencil Outline layer, add a new Black and White Adjustment Layer from the Adjustments Panel. This will add a layer above the Pencil Outline layer.
If you cannot find your Adjustments Panel, go to the menu bar and select Window > Adjustments. You will then see the panel open. The Black and White Adjustment icon is a box with a positive and negative rectangle inside.
Remember that if you have the layers above the one you are working on turned on, you will not see any changes. So make sure only the layer you are working on and the ones below are turned on.
You don’t need to change anything from the default settings for the black and white adjustment layer for the purposes of this exercise.

A black and white adjustment layer creates the pencil image effect

Working on the shading

When you are converting a photo to a drawing in Photoshop, you want some shading to give depth. However, pencils are usually shaded with texture and blending.
You can create this appearance in Photoshop.
Select your Shading layer.
To improve the effect, we are going to change your brush color from pure black to a dark grey and leave the white as white. You want the foreground color to be the dark grey and the background to be white.

As this will be a pencil effect, we are looking for the pencil color to not be 100% black

With the shading layer selected, go to the Filter Gallery (Menu > Filter > Filter Gallery) and choose the Charcoal Filter under the Sketch Group. Set the Charcoal thickness to 1, Detail to 5 and Light/Dark balance to 50.

At 100% this become the new layer. But we want a pencil effect, not a charcoal effect.

On the Shading Layer, change the blend mode to “Multiply.” This allows the underlying layer to merge with the shading layer, creating some detail and some shading.

The multiply blend mode combines the two main layers

Change the Opacity

Change the Opacity of the Shading layer to a pleasing amount. This will add texture to the image and make it look a lot more like a pencil drawing with shading. For this example, I used 62% opacity for the shading layer. This allows the underlying layer to start showing through. Choose an amount that works for your image

Balance the shading and the pencil outlines

Improve the outer edges

Most pencil drawings have stronger edges emphasized. Because we are converting a photo to a drawing in Photoshop, the photograph has lots of details but the edges aren’t pronounced. To do this, we are going to work off the Lines layer (this is the top layer we created earlier).

Work on the Top Layer

Invert the image by pressing Ctrl I or Command I.

To get stronger edges we need to invert the image again

Once the image has been inverted, we need to go to Menu > Filter > Filter Gallery and chose “Glowing Edges.”

Use the Filter Gallery to Access the Glowing Edges Filter

With Glowing Edges chosen under the Stylize Folder, use this to create the lines. Don’t worry that they are color – we are just looking for stronger edges like an artist would draw.

Glowing Edges makes the image strong

Change the blending mode to “Multiply.”

Use the blend mode to enhance the edges

Convert it to black and white

This time, instead of adding another layer, we can convert this layer to black and white. Do this by going to Menu > Image > Adjustments > Black and White.

Convert this last layer to Black and White for finished effect

Any filter effects below other filter effects will not show up live until you move to a different layer (no live preview as you change).

The finished effect can be tweaked because each smart object can be re-edited

Because each layer is a Smart Object, you can go back and adjust each layer’s filter settings to your liking. Essentially, everything is non-destructive. You can even replace the original image and apply the same settings (but that is a more advanced topic).

The finished look

The Final Portrait

In conclusion, by following all these steps you get a lovely pencil drawing image with shading and definition all starting from a color portrait photo.
There are other ways to accomplish converting a photo to a drawing in Photoshop, but I like how this technique adds subtle shading. This is how a sketch artist would convert a photo into a pencil drawing sketch.
Try converting a photo to a drawing in Photoshop yourself at home, and share your results in the comments section!

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Due to Coronavirus, Canon Faces Production Problems on EOS R5, R6

By: Jaymes Dempsey   

The camera industry is feeling the effects of the coronavirus now more than ever. According to Canon Rumors, Canon’s is facing significant shortages in the production of its two new mirrorless cameras, the EOS R5 and EOS R6.
These two mirrorless models are currently under development and were slated to launch this summer, but the appearance of coronavirus has seen the disruption of Canon’s supply chains and has brought production capacity on the cameras down to just 25%.
Canon is considering two ways of addressing these issues:
First, the company may decide to halt the release of the EOS R5 and EOS R6 until the fall, when production should be back at full capacity. This would allow for strong, albeit late, product launches.
Second, Canon may go ahead with the launch of both cameras. But Canon would be moving forward without the production numbers necessary to satisfy all customers, and so we would likely see shortages until the coronavirus pandemic has passed.
Obviously, neither of these measures is ideal. Both the EOS R5 and R6 have generated great excitement among Canon fans, and among the camera industry at large. Any delays or shortages will be met with frustration on all sides, especially by those who have been holding out for a true professional mirrorless model from Canon.
Note that the EOS R5 offers a number of features that were missing from Canon’s first two distinct full-frame mirrorless bodies, the EOS R and RP. These include dual card slots (essential for wedding photographers, photojournalists, and sports photographers, all who require redundancy in their work), as well as in-body image stabilization, which will debut in both the EOS R5 and EOS R6. The EOS R5 will also address concerns that videographers had with the EOS R; the R5 will reportedly offer true 8K video that utilizes the full width of the sensor.
And while Canon has not confirmed a megapixel count for the R5, it has been consistently rumored to feature a 45 MP sensor, which could position the R5 as a high-powered alternative to megapixel monsters such as the Nikon Z7 and the Panasonic S1R.
Canon has remained virtually silent regarding the EOS R6. But rumors suggest that the camera will feature a 20 MP sensor, in-body image stabilization, 4K/60p video, and 12/20 frames-per-second shooting with mechanical and electronic shutters, respectively. It may cater to hobbyists looking for a first full-frame mirrorless body, but who want true mirrorless-type features such as IBIS.
Here’s the bottom line:
The release of these two full-frame mirrorless cameras may well be a turning point for Canon. Whether it comes sooner or later is immaterial, though it will certainly be frustrating for anyone looking to purchase these cameras.
So keep an eye out for more information regarding both of these mirrorless bodies.
Are you looking to buy either the EOS R5 or the R6? Which camera excites you more? Share your thoughts in the comments!

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Yes, the Canon EOS R5 Will Have True 8K Video (And Much More!)

By: Jaymes Dempsey  

When Canon officially announced its next mirrorless camera, the EOS R5, a number of specifications stood out.
The camera promised to right the wrongs of the EOS R/RP pair, by including in-body image stabilization, 20 frames-per-second shooting with an electronic shutter, and dual card slots.
But as impressive as these features seemed, most incredible of all was Canon’s claim that the EOS R5 would offer 8K video.
Note that the current standard for mirrorless cameras is 4K/30p shooting, with cameras offering 4K/60p considered especially suited for more serious videographers.
And while the best of these cameras produce 4K video using the full width of the camera sensor, others are plagued by a crop factor, one that turns wide-angle lenses into standard focal lengths.

The soon-to-be-released Canon EOS R5

Given the current state of the market, 8K video would be impressive. And true 8K video, using the full width of the sensor, would be more than that; it would be groundbreaking, especially considering the fact that Canon has consistently failed to produce true 4K video in its mirrorless bodies. Both the EOS R and the EOS RP, Canon’s current main mirrorless bodies, incorporate a frustrating 1.7x crop.
Even the Canon 1D X Mark III, Canon’s brand new flagship DSLR, can only shoot true 4K/60p video.
So when Canon’s initial announcement included the mention of “8K video capture,” photographers were understandably skeptical. Most thought it was a marketing ploy, and that the 8K capabilities would be significantly hobbled in some way.
In fact, photographers were so vocal in their skepticism that Canon has stepped up to dismiss such rumors.
The imaging company stated in a recent press release:

Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest EOS R camera is set to redefine mirrorless with its market-leading features.

Canon goes on to indicate that the EOS R5 will offer Dual Pixel autofocus in 8K, and that the camera will also include “advanced animal AF,” which will allow it to recognize “dogs, cats, and birds.”
If Canon was hoping to make a splash with this announcement, they’ve certainly succeeded. The Canon EOS R5 will undoubtedly be groundbreaking on all fronts, for still shooters and videographers alike.
Now over to you:
What do you think of this announcement? Will you be purchasing the EOS R5? Do you see a need for 8K? Share your thoughts in the comments!

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Quality of Light – What is Beautiful Light?

By: Andrew S. Gibson

This photo is lit by the soft light found inside on a sunny day. The light suits the subject because it reveals all the detail on the antique scales.

We talk about quality of light a lot in photography. I often use the word beautiful, and tell people that great photos require beautiful light. But what is beautiful light?
To answer that we need to understand that light has many qualities that vary immensely, depending on factors like the light source, time of day, season, and location. Light can be extremely hard (one extreme) or very soft (the other extreme) or anywhere in-between. It takes time to appreciate the nuances and variations of light and learn how to use light that suits both the subject matter, and the style that you are shooting.

What is hard light?

Hard light is strong, directional light that casts deep, hard-edged shadows. It’s the quality of light you get in the middle of a sunny, cloudless day, or from an unmodified flash head.

Hard light, generally speaking, is considered bad lighting for many types of photography. There are two fundamental problems with hard light.
One is contrast – the brightness range (between the area lit by the light source and the shadows it casts) is so great that the camera’s sensor (or film) can’t record detail in both. The other is that hard light is not as aesthetically pleasing as soft light in many situations. It’s another generalization, I know, but it’s the reason that time and time again you will be advised not to take photos in midday sun or with an unmodified flash head.
The key to working with hard light is to recognize its limitations and find suitable subjects to work with. Personally, I find that black and white is better than colour for working in hard light, and that subjects like buildings can work quite well.

Hard light is considered unsuitable for portraits because the hard shadows create too much contrast across the model’s face and are not flattering. However, you may be able to work in hard light with a male model, especially in black and white, as it tends to suit the ruggedness of a man’s face. Regardless of whether your model is male or female, simply facing them into the light so that shadows are as small as possible can work well.
I don’t have any portraits that show these techniques myself, but here are a couple of examples from photographer Betina la Plante. Just click the links to see the photos.
Female portrait taken in hard light. Note how the model faces the light so that the shadows are minimized.
Male portrait taken in hard light. See how the photographer used the deep shadow cast by the hard light to throw one side of the model’s face into shadow and bring out the texture of his skin.

In both cases the black and white treatment suits the hard light.
Another solution is to use portable flash to light the model when shooting in hard light. The idea is that the softer light from the flash (fitted with appropriate modifier) overpowers or fills in the hard light from the sun. That’s what I did with the following image.

What is soft light?

Soft light is that which casts either no shadows, or shadows with soft edges. It is more suitable than hard light for many subjects, including many types of landscape and portraits (but especially portraits).
For example, if you are taking someone’s portrait during the middle of a sunny day, then one of the best things you can do is find some shade, and take a photo of your model there. The softness of the light, and the fill from the brighter, sunlit surroundings, is a very flattering type of light that makes the model’s face glow and creates large catchlights in her eye.

You also get nice light for portraits after the sun has set at the end of a sunny day, when the sky is filled with a soft glow from the last rays of the setting sun. This works best during the longer days (and twilights) of spring and summer.

If you are using flash, then a modifier such as a softbox or umbrella softens the light, making it more flattering for portraits (although it won’t be as soft as the types of natural light just described).

In-between light

I’ve just described several scenarios, starting with midday sun, which is very hard, through to shade or twilight, where the light is very soft. The truth is that most light falls somewhere between these two extremes.
For example, lets say you are taking a landscape photo on a sunny day. The light changes as the sun gets lower, softening and changing in colour. The exact changes depend on the time of year, atmospheric conditions and the weather. Here in New Zealand, the light is very hard, especially during the summer, until the sun slips below the horizon. In other places the prevalent atmospheric conditions may make the light much softer, even on a sunny day.
This photo was taken just after the sun had set. The light was soft and warm, but still hard enough to pick out the side of the island.

The key is to find the point at which the light suits your subject, in the style that you’re trying to shoot. Depending on what you want to achieve, the light is most likely to be suitable sometime during the transition from the hard light of the day to the soft light of twilight. It’s up to you to familiarize yourself with the lighting conditions in the places that you shoot, and to learn to recognize how hard or soft the light is, and when the quality of the light matches the subject you want to shoot.
This photo was taken on an overcast day. The soft, even lighting means the toy car casts a soft shadow. The soft light makes it easy for the camera to record all the important details, avoiding clipped highlights and overly dark shadows.

Size of the light source

So far I’ve just talked about light in terms of its quality. I think the best way to evaluate the quality of light is to learn to look at it and assess the direction it’s coming from, plus the hardness or softness of the light, for yourself by seeing how it falls on the subject.
But it will help if you understand the key factor that differentiates a hard light source from a soft one is the size of the light source relative to the subject.

The key factor that differentiates a hard light source from a soft one is the size of the light source relative to the subject

For example, if you use a flash head without a modifier to take a portrait, the light is hard because the light source is much smaller than your model. To make the light softer, you need to use the largest modifier you can and move the flash as close to your subject as you can.

The light on a sunny day is hard because the sun is small in relation to your subject. If you were able to look at it without damaging your eyes it would appear to be just a dot in the sky.
Yet if it is cloudy, foggy, or raining, the weather conditions diffuse the light, spreading it out so that it seems to be coming from the entire sky, rather than a single point in the sky. The light source is now very large compared to the subject, and the light much softer.
A similar diffusion effect occurs as the sun nears the horizon at sunset.

Your turn

Hopefully this article has helped you understand the key differences between hard and soft light. How important is the quality of light in your work? What types of light do you prefer to shoot in? Please let us know in the comments.

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