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Here are 50 excellent Collage Photoshop Tutorials that will teach you to combine photography with hand-drawn elements and turn an otherwise ordinary image into awesome photo manipulation. Who knows, later on you might be able to create gift cards, postcards or even a beautiful cover for your own book.
This page may not display properly unless you update Internet Explorer to a newer version supporting XHTML, CSS2 and Unicode. Use this submenu to determine the type of the active image or to convert it to another type. 8-bit?Color?Converts to 8-bit indexed color using Heckbert’s median-cut color quantization algorithm. The Process?Enhance Contrast…v command can be used to adjust the brightness and contrast of each slice in a stack, according to either the optimal for each individual slice (if Use Stack Histogram is unchecked) or the overall stack (by ticking Use Stack Histogram).
Histogram?The line graph at the top of the window, which is superimposed on the image’s histogram, shows how pixel values are mapped to 8-bit (0--255) display values. Auto?ImageJ will automatically optimize brightness and contrast based on an analysis of the image’s histogram. A run("Enhance Contrast", "saturated=0.35") macro call is generated if the command recorder (Plugin?Macro?Record…v) is running.
Automatic?Automatically selects the best range given the intensity values of the image based on the percentage of the total number of pixel values from the lowest to highest pixel value. Check Propagate to all open images to apply these values to the rest of the images currently open.
With DICOM images, ImageJ sets the initial display range based on the Window Center (0028,?1050) and Window Width (0028,?1051) tags.
This panel makes adjustments to the brightness and contrast of a single color of a standard RGB image (8-bit per color channel). NB: When switching from one color to another, the changes made to one color will be lost unless Apply is clicked before. When displayed, the intensity of each pixel that is written in the image file is converted into the grayness of that pixel on the screen. 16-bit and 32-bit grayscale images are not directly displayable on computer monitors, which typically can show only display 256?shades of gray. It may happen that the initial windowing performed by ImageJ on these high bit--depth (or HDR[?]) images is suboptimal. Use this tool to automatically or interactively set lower and upper threshold values, segmenting grayscale images into features of interest and background. Stack histogram? If checked, ImageJ will first compute the histogram of the whole stack (or hyperstack) and then compute the threshold based on that histogram.
Auto?Uses the currently selected thresholding method to automatically set the threshold levels based on an analysis of the histogram of the current image or selection. Thresholds 24-bit RGB images based on Hue Saturation and Brightness (HSB), Red Green and Blue (RGB), CIE Lab or YUV components. Pass?If checked, values within range are thresholded and displayed (band-pass filter), otherwise, values outside the selected range are thresholded (band-reject filter). Thresholding Method?Allows any of the 16?different automatic thresholding methods to be selected (see Threshold… [T]^).
Color space?Selects the color space: HSB, RGB, CIE Lab or YUV (see Color Spaces and Color Separation^).
Dark background?To be checked when features are lighter than the background (see 23: Interpreting Binary Imagesv). Original?Restores the original image and updates the buffer when switching to another image. Sample?(Experimental) Sets the ranges of the filters based on the pixel value components in a user-defined ROI. Macro?Creates a macro based on the current settings which is sent to the Macro Recorder window (Plugins?Macros?Record…v), if open. Check Constrain aspect ratio and ImageJ will adjust either the Height or the Width to maintain the original aspect ratio. Check the Average when downsizing checkbox for better results when scaling down images [19].
Opens a text window containing information about the active image (including the pixel or voxel size, since IJ?1.44k).
The number of Channels (c), Slices (z) and Frames (t) in the image can be changed as long as the product of c, z, and t is equal to the number of images in the stack. Unit of Length is a string describing the measuring unit of Pixel Width, Pixel Height and Voxel Depth. With t-series stacks, the Frame Interval in seconds (reciprocal of the frame rate) can be viewed and set.
Origin is the reference point 0,?0 (always in pixels) of the image coordinate system (see also Invert Y coordinatesv in Analyze?Set Measurements…v). Splits an RGB image (or stack) into three 8-bit grayscale images containing the red, green and blue components of the original.
Create composite?If checked, a multi-channel composite image (see Color Composite Images^) will be created.
Converts a two or three slice stack into an RGB image, assuming that the slices are in R, G, B order.
Converts in place an RGB image, a 2--7 image stack or a 2--7 channel hyperstack into a composite color image. The Color Picker [17] enables the user to select foreground and background colors, which affects Edit?Fill [f]^, Draw [d]^, Clear^ and other drawing commands. The color palette is based on HSB (Hue, Saturation and Brightness) color model (see Color Spaces and Color Separation^).
Double clicking on a color brings up the ColorChooser, a widget with three sliders used to specify the RGB values of the foreground or background color.
Color marks are only available with color images or grayscale images that have been converted to RGB (Image?Type?^ submenu). Colored Overlays^ (see Image?Overlay?v, Overlay Brush^ tool), on the other hand, can be created on all image types becoming the easiest way to annotate grayscale images. Copy (center) and Copy (top-left)?Stack will have the width of the widest open image and the height of the highest open image. Title Contains?Enter a string into this field and ImageJ will only convert to stack images whose name contains that string.
Use Title as Labels?If checked, image titles (without extension) will be used as stack labels.
Produces a single grid-image containing the individual images that compose Stacks^ and 4D Hyperstacks^. Use Foreground Color?If checked, borders and labels are drawn in the foreground color and blank areas of the panel are filled with the background color. Reconstructs one or more orthogonal slices through the image volume represented by the current stack or hyperstack [21]. The estimated size of the output stack and the amount of available memory are displayed at the bottom of the dialog.
Start at?Determines the image edge (top, left, bottom or right) from which reconstruction starts. The intersection point of the three views follows the location of the mouse click and can be controlled by clicking and dragging in either the XY, XZ or YZ view. Projects an image stack along the axis perpendicular to image plane (the so-called z axis) [21].
Average Intensity?projection outputs an image wherein each pixel stores average intensity over all images in stack at corresponding pixel location. Maximum Intensity?projection (MIP[?]) creates an output image each of whose pixels contains the maximum value over all images in the stack at the particular pixel location. Standard Deviation?projection creates a real image containing the standard deviation of the slices.
Median?projection outputs an image wherein each pixel stores median intensity over all images in stack at corresponding pixel location.
This command creates a sequence of projections of a rotating volume (stack or hyperstack) onto a plane using nearest-point (surface), brightest-point, or mean-value projection or a weighted combination of nearest point projection with either of the other two methods (partial opacity) [40].
Each frame in the animation sequence is the result of projecting from a different viewing angle. Each ray projects a value onto the screen, or projection plane, based on the values of points along its path.
Projection Method?Select Nearest Point projection to produce an image of the surfaces visible from the current viewing angle.
Opacity?Can be used to reveal hidden spatial relationships, especially on overlapping objects of different colors and dimensions.
Interpolate?Check Interpolate to generate a temporary z-scaled stack that is used to generate the projections. Coordinates of the upper left corner of the selection (or the bounding rectangle for non-rectangular selections) are displayed in the graph title. The initial X,Y location, and Font size of the label are based on the existing rectangular selection, if any. Text?The string to be drawn after each number when the Format chosen is either 0 or Text (label without numeric sequence).
Use text tool font ?If checked, labels will be created using the typeface and style specified in the Fonts…^ widget. David Hockney is an English painter, draughtsman, printmaker, stage designer and photographer. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century. In the early 1980s, Hockney began to produce photocollages, which he called "joiners," first of Polaroid prints and later of 35mm, commercially processed color prints. On his arrival in California, Hockney changed from oil to acrylic paints, applying them as a smooth surface of flat and brilliant colour.


The earlier works of this 5 year period are experimental, Hockney is exploring the medium, and perfecting his technical ability.
David Hockney is an English painter, draughtsman, printmaker, stage designer and photographer. Nowadays, when people start their journey into analogue photography, most of them will begin on a 35mm film camera . 22-year-old French photographer Viet Thi Nguyen has been shooting on film for 6 years now and has never stopped this passion. To elevate yours beyond this it takes a few simple tricks using Photoshop’s awesome array of tools. Do it right and the style has got dozens of applications from static navigation or graphics, through to animated banners and interactive collages. I’ve picked a musical theme, as the style works really well for band graphics or music based sites.
Although the goal is to apply the graphics to a website, I find it’s best to work in 300dpi as it allows for a more detailed approach to work. For the purpose of this tutorial I’ll set up the canvas as A5 landscape (210mm x 148.5mm) at 300 dpi working in RGB mode.
Get this image of a band from sxc.hu (a great resource for free stock photography, always check usage rights) or another image of your choice. Since we’ll eventually be scaling down these graphics to screen resolution, you can afford to miss out some of the smaller details and be a little loose. Don’t forget to use Subtract from the path area when subtracting from an area of a closed Path.
Create a selection from your finished path (Window > Paths – then Ctrl+Click on the Path thumbnail) and copy and paste it into your empty canvas.
Smart Objects allow us to resize and resize without affecting the quality, although you still can’t blow it above its physical size too much without losing quality. Now get this band image and cut the other band members out in the same way and paste them into your document. Resize and rotate all the elements until you have a strong focal point for the composition.
We need a background, so I got this one from sxc.hu, but you can use any other background you like.
The background I chose wasn’t big enough to fill the image so I selected the Clone Tool and a massive (353 pixel diameter), soft-edged brush to clone it. Cut it out as before and paste it into your working document, renaming the layer BUILDINGS. Don’t cut around every little mast or antenna, get the basic building shapes and square it off at the bottom. Now that the buildings are cut-out, we can see that there is some visual distortion on the right. Press CTRL+R to bring up the rulers if they’re not already visible and drag a vertical guide from the left side ruler. Then, with the BUILDINGS layer selected, press CTRL+T to bring up the Transform bounding box. Hold CTRL+SHIFT and grab the top right corner point to drag it independently (but affixed to a horizontal plane) until the building matches the vertical guide. Pick a complimentary foreground colour, this can be changed later on if you’re not happy with your first choice. Create a layer underneath the DRUMMER layer and fill it with colour number #56493f (type this into the Color Picker window under the R, G, B values).
Press CTRL+T to bring up the Freeform Transform box, hold the CTRL key and drag the top middle point down and to the left like a 5 O’clock shadow. The hi-hat stand legs don’t match up, so erase what looks out of place using the Eraser Tool and redraw with the Polygonal Lasso Tool, then fill with the same colour.
Apply a 5 Pixel Gaussian Blur to the Shadow layer, then set the Layer Blending Mode to Multiply. Finally take a soft-edged eraser, set the brush opacity down to 25% and feather the far end of the shadow. Duplicate the Background layer (select it, then go to Layer > Duplicate layer) and drag it to the top of the Layers palette.
Then CTRL+SHIFT+Click on all the layer thumbnails except the Shadows, Background and the Background duplicate you just made.
This should create a selection from your layers, from this selection apply a Layer Mask to the Background duplicate layer. Change the Background, duplicate layer Blending mode to Soft Light, then duplicate the layer and change its mode to Color.
Rather than dragging the brush around the canvas, stamp it down, changing the opacity as you draw out from where you started. Create another new layer above that called YELLOW GLOW, take the same brush loaded with Yellow (ffcc00) and draw where you drew before. WDD staff are proud to be able to bring you this daily blog about web design and development.
Join our 746,498 subscribers and get access to the latest tools, freebies, product announcements and much more! Collage is a specific technique of art that is made from different pieces of artworks which create a new, improved, sometimes perfect look. Alternatively, you should consider upgrading to a modern web browser such as Chrome, Firefox, Opera or Safari.
An attempt to perform an unsupported conversion causes a dialog box to be displayed that lists the possible conversions. With 8-bit images, brightness and contrast are changed by updating the image’s lookup table (LUT), so pixel values are unchanged.
Create a selection, and the entire image will be optimized based on an analysis of the selection. Most of times, however, the relevant image information is contained only within a narrow range of the grayscale. With multi-channel images, the option to propagate the specified range to the remaining channels is also available. For multi-channels Stacks^ and Hyperstacks^ (Color Composite Images^) it adjusts each of the color channels independently.
Use Analyze?Measure… [m]v) (with Limit to Threshold in Analyze?Set Measurements…v checked) to measure the aggregate of the selected features. Hold Shift while adjusting the minimum to move a fixed-width thresholding window across the range of gray values. Ranges of the filters can be set manually or based on the pixel value components of a user-defined ROI. Note that the final thresholded image type is RGB, not 8-bit gray (see Image Types and Formats^).
The selection is made according to the settings defined in the Process?Binary?Options…v dialog.
When applicable, other dimensions can also be resized: Depth (images) in stacks, Depth (slices) and Time (frames) in hyperstacks. Use the Channels Tool… [Z]v tool (?Shift Z?) to enable and disable the channels of a composite image. The lookup table, or color table, describes the color that is displayed for each of the 256 possible pixel values.
It displays current foreground and background colors in the selection boxes at the bottom of the window. Hue increases as you go down the palette while saturation and brightness values are split horizontally.
The title of the ColorChooser widget (Foreground Color or Background Color) indicates the current selection mode. Foreground color can also be changed using the Color dropdown menu in the Options dialog of drawing tools such as Arrow^, Brush^, Overlay Brush^ and Pencil^ tools. Operations specifically related to Hyperstacks^ are listed in the Image?Hyperstacks?v submenu. The user must enter a slice number greater than or equal to one and less than or equal to the number of slices in the stack.
Smaller images will then be copied (either to the center or to the upper left corner) of the slice. As described in Stacks?Tools?Remove Slice Labelsv, these labels (up to 60 characters) correspond to the image subtitle, the line of information above the image. Slice labels (up to 60 characters) correspond to the image subtitle, the line of information above the image. With hyperstacks, the projection is performed on the active time frame, or for all time points if All Time Frames is checked.
The user may choose to rotate the volume about any of the three orthogonal axes (x, y, or z), make portions of the volume transparent (using thresholding), or add a greater degree of visual realism by employing depth cues. To visualize this, imagine a field of parallel rays passing through a volume containing one or more solid objects and striking a screen oriented normal to the directions of the rays. Three methods are available for calculating the projections onto this plane: nearest-point, brightest-point, and mean-value. At each point in the projection plane, a ray passes normal to the plane through the volume.
ImageJ projects the volume onto the viewing plane at each Rotation Angle Increment, beginning with the volume rotated by Initial Angle and ending once the volume has been rotated by Total Rotation. Projection calculations disregard points having values less than the lower threshold or greater than the upper threshold. The (surface) Opacity parameter permits the display of weighted combinations of nearest-point projection with either of the other two methods, often giving the observer the ability to view inner structures through translucent outer surfaces. The depth-cueing parameters determine whether projected points originating near the viewer appear brighter, while points further away are dimmed linearly with distance.


Z-scaling eliminates the gaps seen in projections of volumes with slice spacing greater than 1.0?pixels. Using varying numbers of Polaroid snaps or photolab-prints of a single subject Hockney arranged a patchwork to make a composite image. As the complexity of the joiners increased, he moved to using a Pentax 110, this allowed him to hugely increase the complexity of the pieces.
He noticed in the late sixties that photographers were using cameras with wide-angle lenses to take pictures. Je kan je fantasie de vrije loop laten en een eigengemaakt kunststuk maken voor jou interieur. Relabel all the layers (SAXMAN2, GUITARMAN, DRUMMER and BASSMAN) and turn them into Smart Objects. Select a layer you want to transform and press CTRL+T to bring up the Free Transform bounding box. If you mix up your source point you’re less likely to clone repetitive patterns within the texture.
If you want to keep it simple, click the Add to shape area (+) icon when drawing shapes that go together. Select the Paintbrush tool and use a large soft-edged brush loaded with white to draw in some hazy glow. With 16-bit and 32-bit images, the display is updated by changing the mapping from pixel values to 8-bit display values, so pixel pixel values are also unchanged. The optimization is done by allowing a small percentage of pixels in the image to become saturated (displayed as black or white). Press H (Analyze?Histogram [h]v) and you will see that the minimum pixel value in the image is -719 and the maximum is 1402.
The window defines the range of gray values that are displayed: values below the window are made black, while values above the window are white. This command, implemented in version?1.43l, is an experimental built-in version of the Threshold Colour plugin [20] and is not yet fully integrated into ImageJ. The implementation of the bicubic method (Catmull-Rom interpolation) is derived from Burger and Burge, 2008 [104]. If the canvas size is increased, the border is filled with the current background color (see Color Picker… [K]v), or, if Zero Fill is checked, the border is filled with pixels that have a value of zero.
Use the popup menu (right-click in the Info window) to save the information to a text file or copy it to the system clipboard. When creating composite images, original LUTs and display ranges are preserved unless Ignore source LUTs is checked. The entry index, and the three values (red, green and blue) associated with it, are displayed in the ImageJ status bar as you move the cursor over the LUT Editor window. Color Choosers are evoked by double clicking on a color of the CP window and can be used to retrieve Hexadecimal Color Valuesv. The left half of the palette varies only in brightness while the right half varies only in saturation.
A dialog box allows you to specify the magnification level at which the images are copied, and to select the layout of the resulting grid. With lines selections, a stack is created by shifting (by Output spacing) the line down and to the left to generate additional slices for the output stack. The choice of projection method and the settings of various visualization parameters determine how both surface and interior structures will appear. The value of the nearest non transparent point which the ray encounters is stored in the projection image. Setting these thresholds permits making background points (those not belonging to any structure) invisible. To enable this feature, set Opacity to a value greater than zero and select either Mean Value or Brightest Point projection. The trade-off for this increased realism is that data points shown in a depth-cued image no longer possess accurate densitometric values.
This option is equivalent to using the Scale plugin from the TransformJ package to scale the stack in the z-dimension by the slice spacing (in pixels). Hockney also maintains two residences in Los Angeles, the city where he has lived on and off for more than 30 years: one in Nicholas Canyon, and an office and archives on Santa Monica Boulevard in West Hollywood. His longest Polaroid joiner took 5 hours to complete, his longest Pentax joiner took 8 days of photography alone. Zo heb je een blijvende herinnering aan de muur hangen en een echte eyecatcher voor je huis.
U kunt de foto?s in een raster plaatsen waarbij allerlei mooie foto?s in kolommen worden weergegeven. ImageJ displays images by linearly mapping pixel values in the display range to display values in the range 0--255. Each additional click on Auto increases the number of saturated pixels and thus the amount of optimization. The Set Display Range dialog allows you to choose how to scale the range of gray levels of 16-bit images. Note that these are global thresholding methods that typically cannot deal with unevenly illuminated images (such as in brightfield microscopy). Click on an entry to edit the red, green and blue values for that entry using a Color Selector window (cf.
At the center of the color ramp are enlarged red, green, blue, cyan, magenta, and yellow colors for quick selection. The hex value of the final color is also displayed, offering a convenient way to retrieve custom colors to, e,g, personalize Overlays^ (see 20: Hexadecimal Color Valuesv). If no slice metadata exists (the setMetadata() macro function can be used to customize slice labels) images are labelled with slice numbers.
Brightest Point projection examines points along the rays, projecting the brightest point encountered along each ray.
By setting appropriate thresholds, you can strip away layers having reasonably uniform and unique intensity values and highlight (or make invisible) inner structures. Because these photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, which was one of Hockney's major aims – discussing the way human vision works. CrockerSeptember 9, 2015 at 12:49 PMI love to capture instant of life with Polaroid cameras. Canvas collage maken is eenvoudig, fun en zorgt voor een vastgelegde herinnering van onschatbare waarde. Je kan de foto?s draaien, bewerken met randen en allerlei kleuren of je kan de foto?s in zwart-wit af laten drukken. Men kan ook kiezen uit een Multi weergave, warbij u geselecteerde afbeeldingen over elkaar heen worden geplaatst. Pixels with a value less than the minimum are displayed as black and those with a value greater than the maximum are displayed as white.
In these cases, local algorithms are more appropriated, by allowing the threshold to smoothly vary across the image..
Foreground color is also reflected in drawing tools such as the Arrow^, Brush^, Flood Filler^ and Pencil^ tools. To the left of the color palette is a grayscale ramp that goes from pure black to pure white. This will display the brightest objects, such as bone in a CT[?] (computed tomographic) study. Surface Depth-Cueing works only on nearest-point projections and the nearest-point component of other projections with opacity turned on.
Some of these pieces are landscapes such as Pearblossom Highway #2, others being portraits, e.g.
He took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own.
With Polaroid film you have a limited number of shots, you think more before taking the shot, you think quality rather than quantity. De collage wordt altijd afgedrukt op top kwaliteit canvasdoek en professioneel gespannen op een houten raam.
Mean Value projection, a modification of brightest--point projection, sums the values of all transparent points along each ray and projects their mean value. Upon looking at the final composition, he realized it created a narrative, as if the viewer was moving through the room. He began this style of art by taking Polaroid photographs of one subject and arranging them into a grid layout. He began to work more and more with photography after this discovery and even stopped painting for a period of time to exclusively pursue this new style of photography.
Having independent depth-cueing for surface (nearest-point) and interior (brightest-point) allows for more visualization possibilities. The subject would actually move while being photographed so that the piece would show the movements of the subject seen from the photographer's perspective. Frustrated with the limitations of photography and its 'one eyed' approach, he later returned to painting.
Thank you so much And I hope that other readers will also experience how I feel after reading your article. In later works Hockney changed his technique and moved the camera around the subject instead.



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