Kate really enjoys playing in the sand at what we describe as the shady park. However, those trees surrounding the play equipment create shadows that make photography more difficult. Note the harsh light in the background and to the left of my granddaughter. Changing light and her constant movement are why I often set my camera on aperture priority and auto ISO. With those settings I can concentrate on framing the scene, getting my granddaughter’s face in focus and blurring the background by setting the aperture to f/5.6. Those settings usually give me enough depth to get her face in focus if I hold the camera securely and put a focus point on her face. However, framing the scene is still difficult for me. In this shot, I cut off some of the sand toys. The exposure is a little dark. Despite the problems with this photo, I liked Kate’s expression, her hands squeezing the sand and the little truck. I knew that I could fix the exposure, use the Clone Stamp to erase the price sticker on the little truck and mask out the cropped sand toys.
Framing helps focus the eye on what is important on a page, in this case my granddaughter as she played in the sand with the toy truck. Below are highlights of the steps that I followed to create this page as I worked the new MultiMedia Frames No. 3.
Drag the layers of psd file 3 from MultiMedia Frames No. 3 onto a new document. Clip the photo to the fotoblendz mask and a copy of the photo to the stain. Add adjustment layers as needed to correct photo exposure. Clip solid paper 6 from ArtPlay Palette Swell above each photo layer on normal blend mode at 50% opacity. Mask out what you do not want covered with sand by adding a layer mask.
Note that I extracted my granddaughter from another photo copy and placed it below the solid paper 6 layer because I thought the appearance and shadowing looked better in that order. I also created a copy of the extraction’s mask for the paper. Order in the layers panel depends on how the layers blend together.
Place transfer 7 from ArtPlay Palette Swell below the psd multimedia frame layers. Create another copy of the photo and place that below the transfer. Add a layer mask to the photo and blend into the background paper, solid paper 2, using AnnaBlendz Artsy No. 7 brushes. Clip a copy of solid paper 6 at 50% opacity to the photo layer and mask as needed. Stamp brush 3 from Oasis No. 2 on a layer below in a color to coordinate with the photo.
Place another copy of the extraction and layer mask along with the adjustment layers above the frame. Use a round brush to adjust the extraction’s layer mask to reveal and/or hide parts covering the frame. Attach a layer mask to the frame’s shadow to lighten as needed.
Note that at this point I used the Clone Stamp to erase the distracting price sticker on the little yellow truck.
Add overlays 2 and 3 and the art stroke from the ArtPlay Palette Swell to finish the background. Place png wooden word art 2 from Beach WordArt Mix 1 and add a subtitle as shown on the collection preview. Change the elements included with the frame as needed. In this case, I substituted the branch and sand pail charm from ArtPlay Palette Swell and tied both down with png file 3 from ButtonThreadz 2. Add journaling.
By using a frame on my page, I have focused on my granddaughter and hidden what was distracting in my photo. You might be wondering why I didn’t simply erase portions of the frame to achieve the out of bounds effect. One reason I prefer working with an extraction is because that allows me the option to add shadows to part of the photo and create more depth on my pages. As I explained in previous posts, Inspiration and Changing Focus and a Tip for Extractions, the effects created with shadows are not possible by erasing parts of a frame or blending.
I am not especially fast at creating my pages, but I finished this page in under two hours even with the extraction. Practice helps, especially if you know the different tools in Photoshop or PSE that are available for extractions.
Knowing how to extract from a photo, the selection tools available as well as how to refine extraction edges makes what appears difficult really very easy. Anna is offering a new course, ExtractTHIS, which is available at a 50% discount if you sign up for Flipping Clipping Live. At the moment, Anna’s site is down for maintenance, but if you email her, she will register you for classes. I don’t think that there is one best way to extract from a photo. My process depends on the photo, what I am trying to achieve and my comfort level with different options. Anna’s class is a wonderful opportunity for me to continue to refine my skills, especially important to me as extractions are definitely characteristic of my current style.