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Pose: HelaMiyo :: Poses :: Underwater


Dress by Entice (previous gift), hair by Argrace, bracelets by Real Evil Industries (gifts)


The other day a shop CSR asked me if I would like to become the photographer of a designer as she liked the way I photoshop my pictures. But the thing is: I do not photoshop my pictures (in none of our worlds and photography is my RL job). I'm one of those old school photographers who prefers to take the time to set up a studio and set up the lights exactly how I want until I get the result I had in mind. I don't even own photoshop as I boycott their brand.


So here is how I do shadows in SL:

1) Preferences > graphics > General > Ultra > LOD on 4

Hardware settings > antialiasing on 16

2) I rez 1 or 2 or 3 prims to make the lights with directional lighting

Rez a prim > right click your prim > edit > features > light > click on the square on the right and choose texture "blank" (this last part is very important, that's how you get directional lights in SL)

3) I usually place 2 lights in front of my avatar at 45°. If I want more dramatic shadows I put one at 90° and a second at 45°. Then I like to be even more dramatic so I turn the sun on midnight and sometimes I put a light behind my avatar to light the wall. (this photo is a bad example as I only used one light but you can see some examples on my flickr)

4) I do not retouch the avatar or the clothes, if there are defaults, I don't see a reason to hide them. I post process using Affinity Photo by Serif to turn the picture in black and white. Saturation = 0, clarity + 20 or 30 and that's all. That post processing part takes 3 seconds and the image is ready.


The longest time for me is not the styling as I adapt the clothes to the poses, or post processing but that's placing the lights and framing correctly.

GhostWorks Texture Competition #1


This is for “Its An Addiction” group tutorial discussion here. One of my all time favourite tutorials.


With thanks to…..

Background ~ Mathias Erhart

Owl ~ Seabarmirum

Textures ~ Skeletal Mess & Me ( 1 ) & ( 2 )

Model ~ Marcus Ranum


~ #55 / 365 ~

365 Manipulations Project


~ Front Page Explore ~ Oct 20th, 2009 ~


Picture II


For those who did not see the first picture...


This is going to be my first visual tutorial about consciousness and awareness.


It is very easy because the pictures will speak for themselves.


Without words you will understand, what it all means.


Maybe you discover something very important for yourself... :-)))


If you like, ask yourself what you see and how you see.


Next picture tomorrow.



Edit *full tutorial now available here:


Step 1 posted. Maybe you see this in your own colour combo! That would make me happy.


This is going to be my first visual tutorial about consciousness and awareness.


It is very easy because the pictures will speak for themselves.


Without words you will understand, what it all means.


Maybe you discover something very important for yourself... :-)))


If you like, ask yourself what you see and how you see.


Next picture tomorrow.




For the interested who did not see the first four pictures of this serie:


This is going to be my first visual tutorial about consciousness and awareness.


It is very easy because the pictures will speak for themselves.


Without words you will understand, what it all means.


Maybe you discover something very important for yourself... :-)))


If you like, ask yourself what you see and how you see.


Next picture tomorrow.




Step-by-step tutorial


I've decided to create a tutorial on some fun vintage/retro like effects you can add to your pictures. hope you enjoy.

Assista o tutorial diretamente no youtube ou visite o blog , assista o vídeo e veja mais fotos :)


Obrigada por acompanharem meu trabalho meninas ♥


Blog | Facebook | Instagram | Youtube


** Some of the techniques I have used for eyes can also be applied on jewelry or any metal stuff. Enjoy! <33



Duplicate layer, right click on layer and choose duplicate layer, name it 01.


Now you have 2 Layers, called Background and 01. Make sure the 01 layer is chosen.


Go to Layer - New Adjustment layer - Brightness Contrast. brightness 0 contrast +17


Go to Layer - New Adjustment layer - Levels - the numbers are 12, 1,00, 215.


Now I´m happy with the sky for now, so now we´ll fix the rocks in the forground.


Duplicate the Background layer, name it 02, and drag it on top of all the layers.


Go to Image - Adjustment layer - Levels ( nb, now go to IMAGE not LAYER) Set it to 17 , 1,91 , 196


With the Erase tool(or Masks) erase the sky and the hill.


Go to Layer - New Adjustment layer - Hue/Saturation. Choose:

Cyan, -18, -31, 0

Blues, -16, -23, 0


And finally I put a little lomo vignette ( how to? you´ll find that here

The opacity on the vignette layer on this photo here is 50%

For the interested who did not see picture one, two and three...


This is going to be my first visual tutorial about consciousness and awareness.


It is very easy because the pictures will speak for themselves.


Without words you will understand, what it all means.


Maybe you discover something very important for yourself... :-)))


If you like, ask yourself what you see and how you see.


Next picture tomorrow.



This is actually really old but yesterday I noticed I never posted it, so here it is, a tutorial on light stencils.

Hey guys ♥

i made a lil tutorial, how to remove the green background from your snapshots.

im sure there are tons of other ways to do that, this is NOT the only way, but the way i do.

This is my first tutorial or youtube video ever, so please be patient haha.


hope you like it and i could helped you with it a lil bit


client in this pic: Clara Lovell

This is for Its An Addiction Discussion


Tutorial with thanks to Prairie Kittin


Oi gente....


Fiz um Tutorial (que tá hilário) de um look que eu uso de dia e de noite...


Veja aqui!!!


Estou aguardando o feedback de vcs, gente....

É a primeira vez q eu faço um vídeo e eu tava meio


Perdoem os erros, ok?!?


Espero opiniões e sugestões!!

E críticas tbm...







Disponibilizei o video numa qualidade melhor aki ó

Copyright 2005-2009 AlexEdg AllEdges (

For It's An Addiction discussion HERE


With thanks:


Cosmos sky resurgere


Model GothicSelene

Mist brush

Lembram que coloquei a foto do antes e depois da make que fiz na minha amiga Raquel?? Então, acabei gravando o tutorial em vídeo.


Link pro blog


Design: Xander Perrott


6 units, Ratio: 1:√3


YT Tutorial:

Article to this design:


Thank you again, Xander, for giving me permission to post this tutorial video of your amazing Origami work!!

Este es la composición original del concurso, vista en los tutoriales. A raiz de esta imagen como ejemplo, deberán crear su porpia isla flotante.

This is just a funny picture that I will discuss in BLOG in a few days. I'm planning a little tutorial about how to create very cool lighting effects in different ways with Photoshop CS6. Have fun :-)

Found this little tutorial back on my laptop. I was asked to make a little tutorial last summer on how I make my models pose in my pictures. It was meant to be printed in a dollmagazine... Sadly in the end it didn´t get printed because of .... ..... whatever.... So I thought I´d share it with you guys.... Oh, and sorry for my very bad english,.. I never asked someone to correct it... lol

I made a picture tutorial for creating this image. It was done digitally in Paint Shop Pro X. I made the tutorial for my Smudgepainting group here on Flickr and for all my Digitalnuts friends.

After a 20 month silence, dipping my toe nervously back into blogland... tutorial now posted here:

cachemash tutorial

by H.Manon


Cachemashing is my name for a somewhat more controlled approach to what Daniel Temkin identified as the Photoshop Truncating Glitch—an approach to image glitching that exploits a problem with early versions of Photoshop. Cachemashing is in my view a relatively pure or true form of glitching, because my control over the outcome is limited almost exclusively to the selection of input files, and to standard user-end changes to Photoshop settings. Once these decisions are made, Photoshop glitches a truncated jpeg file in ways that are difficult and at times impossible to predict. However, what makes this technique compelling is that, through practice, one may nonetheless develop and refine a personal approach, even if the final cause of the glitch remains opaque—a mystery taking place behind-the-scenes of Photoshop’s interface.


I want to preface what follows by saying that I am not a programmer. Although I am fairly savvy as a Photoshop user, my understanding of the program’s internal workings are almost nil. I'm sure if I knew more about the causes of this technique I would be less interested in it. The fun here is really in the "not knowing why."


In this tutorial I mainly describe how I arrived at the image above (a glitched “Currier and Ives” style print of a duck hunt). These specific techniques could be altered in numerous ways and still produce the effect of a cachemash.


What you need to cachemash:


1) Photoshop 6.0 or earlier. I am running Photoshop Elements 1.0, which is the Elements version that corresponds with PS 6.0. My system is Windows XP, and I know that the technique also works when Photoshop 6.0 (or PE 1.0) is installed on Vista. I have not tested this technique on any other OS.


2) A truncated jpeg file in which the point of truncation appears close to the top, resulting in a mostly “blank” image when opened in PS. Jpegs are easy to truncate using code editing programs like Notepad++. My approach is to open the jpeg in Notepad++, delete a couple of lines of data somewhere just below the file header, save, and then open in PS. You have succeeded when you open the file and receive the golden message “This document may be damaged (the file may be truncated or incomplete). Continue?” Sometimes it takes ten or so tries to successfully truncate the file, rendering it partially damaged, but not too damaged to open.


3) At least one non-truncated image file that you want to form the mashed-up content of the final image. These are the files you will load into the PS cache.


4) A computer that has sufficient speed and RAM to process the size of image you want to produce.


The procedure:


1) Open a truncated jpeg in Photoshop. The truncated file I used for the “duck hunt” cachemash is 4500 x 4822 pixels @ 300 ppi. The compression rate of the truncated file does not seem to matter. The original image content also does not seem to matter, since the truncation renders it blank.


2) The message pops up: “This document may be damaged (the file may be truncated or incomplete). Continue?” Click OK. You will see a blacked-out image, with perhaps a tiny line of color at the top (depending on how near to the top you truncated the file).


3) Now is when you can get creative, in a fascinatingly limited way. Open any file or set of files. Manipulate them as usual in PS, or not. Then close them. For the “duck hunt” image, I pre-sized a jpeg at a width of 8984 (almost but not quite twice the width of the truncated file). This is the trick to obtaining something like a “full frame” cachemash in which the cached image is fully or mostly visible in the final version.


4) Use the filter called Gaussian Blur on the truncated file. A blur radius setting of 0.1 pixels is ideal. This procedure “fixes” the mashed image, in the photographic sense of the word; it stabilizes the data which, up to now, tended to load randomly into the void space of truncated file. The result is a mash-up of certain files and parts of files that have been temporarily stored in the PS cache. (Note: I use Gaussian Blur at 0.1 because of all the possible filters, this one seems to least alter the final image, while still “fixing” it. However virtually every PS filter will "fix" a truncated file).


5) The truncated file is now cachemashed. If you like the results, save to the file format of your choice.


6) Undoing the Gaussian Blur returns the truncated file to its volatile state.


7) Redoing the Gaussian Blur will give new results each time. However (and this is what makes the technique really interesting), the more you undo and redo, the more your “fixed” images also become part of the PS cache. You might think of this as “caching the cache.” If you undo and redo fifty times, the image will be really minced up. But, if at any point you open a new non-truncated jpeg in PS, that jpeg will become part of the cache, and may appear largely in tact as a portion or layer of the mashed image.


Some other tips and observations:


1) In the process of doing and undoing, you will see that when the PS cache attempts to “fill in” the truncated image, it does so in a cycle. The length of the cache cycle is controlled by the size of the cache you elect in Preferences > Memory & Image Cache. I mostly keep cache levels set at 8 (this is max) and RAM used by PS set at 100%. Striking embroidery-like effects can be achieved by reducing RAM used by PS down to 15% or so.


2) Incorporating high contrast RGB images (color or b/w, doesn’t matter) yields brighter colors in the final “fixed” version. Low contrast images produce subtler, more muted colors.


3) Introducing Inverted (i.e. negativized) images to the cache produces interesting results, as do images to which Gradient Map has been applied.


4) It is very unusual to produce a final cachemash that is grayscale, but it sometimes happens.


5) The non-truncated sliver of the truncated file will appear as a black band at the top of the final “fixed” version. I usually crop this out, but this is the only post-processing I do. All of the other effects in images I have posted to Flickr happened prior to the moment of glitching, which I take to be the moment at which PS “fixes” the images.


6) It is possible to create the same cachemash twice. Just open the same files in the same order with the same settings on the same machine. This suggests that there is nothing random about cachemashing. At the same time, if you begin by caching an image that is even one pixel larger or smaller, the results after several cycles of do-and-undo could be radically different.


7) If you overlay the PS crop tool on top of a truncated file, and there is data in the cache, the space within the cropped area will weirdly animate. When you press “crop,” the animation will stop because the image is now fixed.


8) When the final colors you achieve are saturated reds, blues and greens, it is sometimes possible to experience the optical illusion called chromostereopsis.


I will continue to add observations on this page as they come to me.


Good luck!



Guess who has paid a visit to my old friend Silver Efex ? . I've signed up for a tutorial thingey with Lynda to learn a bit more about photoshop - jeez, its tough going I tell you. I bring the laptop with me to bed thinking if I do a tutorial just before I sleep (though normally fall asleep superquick once the tutorial comes on) then my unconscious mind will take it all on board as I am sleeping. Sure enough I wake up in the morning and know less than I did the night before. When I am giving it full attention I yell at the tutors 'I don't understand - slow down' and they just keep goin' oblvious to my idiocy. I look at Jim's shots (shutterjack) and think I want to be able to do that and I want to be able to do that....NOW !. However it appears that learning stuff ain't so black and light and I have to foster a characteristic that is alien to me...patience !. Why oh why can I not download patience from some website .

So I am sticking with my best pal silver efex for the shots that I upload on here for now - you should see my photoshop ones - they are shockers !!! :))

Check out this explored shot from Jim :


Closeup of Gabriella, my little vampire Lady :)


She has many layers of gloss varnish on the lips, in order to create some depth.


I add some of my home-made satin varnish on the mascara, but I'm not sure it was a good idea.

This picture demonstrates what can't be done in normal photography (3D glasses required).


A 3D picture that pops out the screen. Watch the picture full size. Put a chair at about 3m (10 feet) away from your monitor. Sit down and watch the branch grow about 80 cm (3 feet) out of your screen!


This is one of my first digital 3D pictures, made with one camera and a simple plastic slider on a tripod.


TUTORIAL - How to make an anaglyph using Photoshop



• Start Photoshop.


• Open the two pictures of your stereo pair.

• Make yourself sure of which is the left and which is the right picture.

• Open the channels palette (menu: Window, Channels). You’ll see the channels RGB, Red, Green and Blue with a small eye in front.


• Activate the LEFT picture (click the title bar).

• Select the red channel in the palette (Ctrl-1). Now only the red channel has the small eye in front. The picture shows the red channel in grayscale.

• Select all (Ctrl-A) and copy to the clipboard (Ctrl-C).


• Activate the RIGHT picture (click the title bar).

• Select the red channel in the palette (Ctrl-1). Again the picture shows the red channel in grayscale.

• Paste the contents of the clipboard (Ctrl-V). What you just did is replacing the red channel of the right image, by the red channel of the left image.


• Click at the gray square left of the RGB channel in the palette, all small eyes switch back on. Important: don’t click at the channel itself, but in the square where the small eye should be.


• Put on your red/cyan 3D-glasses.

• Stroke V and align the picture with the arrow keys.

• Save the picture under a new name.


a href="">It’s An Addiction ~ Tutorial Challenge #29


~Entered in the Kreative People group Open Theme contest #8


Made for Jeni for an ornament swap between a few of us friends. And a quick tutorial and templates for you! Blogged

Check out my free tutorial on adding selective color to your images. Wallzeye

Tutorial - Night Photography


How was this shot achieved?


Clear day in Nafplion, Greece with the supermoon having rised a few minutes before. The sun was set behind Bourtzi castle so this was the perfect timing to make this shot, as the sky was lit by the setting sun and also had a silverish blue hue due to the nearby moon. I knew that the fact the moon was so near to the earth would cast the most soft shadows possible to objects.


The amount of contrast on objects' shadowing is proportional to the source light's intensity as well as its distance. That is the reason that on a sunlit day you get the most harsh shadowing. Because the sun, apart from being too bright, is very far from the earth.


The castle was not lit that day, (maybe to enjoy the supermoon??). So the only light I would get on it would be from the city lights' reflections and from the reflection of the sea and sky. This had a beautiful result, because the highlights of the castle were warm from the harbor lights and the shadows were cool from the silverish blue reflection of the sea and sky. That made the castle pop even more and show its shape clearly.


Last but not least, the little boat that left a red trail to the left side of the picture was no accident... I had seen this guy coming from afar and I have been waiting for him.


Now to the technicalities...


I used my Canon 5D MKII with the 24-105mm L IS lens, also by Canon. I have mounted the camera onto my wee Manfrotto tripod, which is the only mini tripod I have found so far able to hold my camera steady (due to its weight).


I zoomed in until I got the frame I wanted. For this, I have placed the castle on the top left golden section (if you don't know what that is, google for "rule of thirds"). I left the sea on purpose to create a big negative space, so that you focus on the castle even more.


I knew I wanted a long shutter speed, in order to make the water look carpet-y smooth, so I have closed down my apperture to f/7.1. I didn't go too far because I wanted to make the castle distance from the back shore more visible. Also this needed 30 seconds of exposure with my ISO100. I don't have a bulb release yet, so that was another reason for my choice. I wanted the lowest ISO possible in order to have minimum noise.


I have focused manually in order to take this hassle out of the equation. For this, I use the live-view of the camera with the screen zoom capability, in order to be more precise.


Finally, I use the 2-sec shutter delay, in order to be certain that I am not going to accidentally shake the camera.


In post production (the image is shot RAW of course), I use the Adobe RAW in 16-bit mode. I changed the camera default color mapping to 'landscape', then corrected any color aberration. I did adjustments to the white balance (I always shoot auto balance, as this is software controlled when shooting RAW) and brought back any blown highlights and crushed shadows. Finally, I adjusted the sharpness and noise reduction till I was happy and then opened in Photoshop.


I am using lately a plugin kit from Nik Software (recently acquired by Google). For this one I have used dfine2 and color efex. The whole bundle is sth like $160 I think. It can do miracles, very fast and with very good quality, paying attention not to spoil the levels of the image. When it comes to color correction only, I think this s/w saves huge amount of time and you can practically do everything you need.


Finally, I save a jpg version of the file ... and here it is!


Hope you enjoyed the tutorial, will be happy to answer questions!!

Eye shadows are very important in the makeup steps. Smokey eye makeup is a very tricky thing to do. If you are not a makeup expert and you lack incentive for making makeup, it doesn’t mean you cannot do anything. All you have to do is learn some tricks for Smokey eye makeup...

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