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2026-10-20 Fine Art Photography SIG meeting notes
We met online using ZOOM 6:00pm-8:40pm
The goal of our Fine Art Photography SIG is to help each other to create fine art from our photography.
The Fine Art SIG is a place where artists support each other and nurture creativity in others.
Unrequested criticism can feed an artist's fear of failure and stifle their creative growth.
ATTENDEES
Robert Barley
Mike Barry
Judy Cannon
Heather Coe
Rich Ernst
Jim Fellion
Pam Jordan
Jim Limburg
Jack Lipscomb
Paul Marcoux
Rich Roberts
Albert Wang
DISCUSSION TOPICS
1. Huibo Ho's presentation "Black and White Landscape Photography" ==============================================
What did you think of her presentation?
Everyone was impressed by her presentation.
Did it inspire you?
Several members were inspired and shared plans to create some B/W Landscape art.
2. Matt Kloskowski's class on "Creating and Using Textures"
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A. Adding texture to your images
B. Manually creating textures
C. Using AI to create textures
Matt Kloskowski texture classes
https://mattk.com/texture-blending/
Texture Blending AI Course - $69.99
Texture Blending Course + Texture Creator Studio - $99.99
Texture AI Pro Pack - $39.99
Matt Kloskowski texture classes (free classes)
The Photoshop Technique You Didn't Know You Wanted - 13:27 - by Matt Kloskowski
https://www.youtube.com/watch?v=PBSqHmre6DM
Custom Textures from Scratch - 14:17 - by Matt Kloskowski
https://www.youtube.com/watch?v=2qRgi0YPo7E&t=19s
AI Artwork Prompts for Textures
https://promptcache.com/ai-artwork-prompts/nature/texture
3. Photoshop Virtual Summit
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Do any of these topics sound interesting for future meetings?
I have marked with an "x" if anyone expressed interest during the meeting.
If you look over the list and find others that interest you, please email Mike so I can consider using them in
future Fine Art SIG meetings.
DAY 1
x-Save the Shot: Working with High ISO Noise Reduction by Daniel Gregory
-Where Camera Raw Stops, Photoshop Starts by Glyn Dewis
-What's New in Photoshop: The Features You'll Actually Use by Terry White
x-Fix Dark or Washed-Out Photos by Brendan Williams
-Natural Skin Retouching by Kristina Sherk
-Add Depth of Field and Background Blur Effects by Colin Smith
-Composite vs AI: Building the Perfect Wide-Angle Portrait by Piet Van Den Eynde
DAY 2
x-Turn a Photo into a Painting or Illustration by Kirk Nelson
-Compositing Basics by Khara Plicanic
x-Creating Double Exposure Effects in Photoshop by Joel Robison
-Shaping Light: Drama, Depth, and Atmosphere By Blake Rudis
x-Generative Fill Essentials by Jesus Ramirez
-Hidden Layer Techniques for Creativity by Ben Willmore
-Gradients: The Secret to Creating Depth in Photoshop by Sharon Tenenbaum
-Bringing Waterfall Photos to Life - Matt?
DAY 3
-Frequency Separation Reimagined: Precision Retouching in the Age of AI By Lisa Carney
-The Ultimate Masking Challenge - Poster Design Project by Martin Perhiniak
-Blend If Deep Dive by Blake Rudis
-Dodging & Burning for Professional-Level Depth and Shape By Kristina Sherk
-From Edit to LUT: Create Reusable Color Grades in Photoshop By Anthony Morganti
-Upscale Any Image with AI By Deke McClelland
-Add Sun Rays and Glow Effects to Outdoor Photos By Aaron Nace
-Adding Realistic Highlights and Shadows to Composite Images By Joel Robison
-Color Grading with Curves By Brendan Williams
DAY 4
-Smart Selections: Select Subject, Sky, and Beyond By Tim Grey
-Creating Custom Brushes for Retouching and Effects By Kirk Nelson
-From Lackluster to Blockbuster with ai in Photoshop By Colin Smith
-Think Smart: Mastering Smart Objects in Photoshop - Interior Design Project By Martin Perhiniak
-Adding Text to Photos By Khara Plicanic
x-Cinematic Color Grading in Photoshop - By Jesus Ramirez
-From Screen to Wall: Printing an image as an 8”x10” and as a 24”x30” By Daniel Gregory
x-The Black and White Landscape By Nigel French
-Using Textures to Add Depth and Style - By Gary McIntyre
4. New Features in Lightroom and Camera RAW
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New Features in Lightroom and Camera RAW, August 2026 update - 15:39 - photoshopCAFE
https://www.youtube.com/watch?v=0XmX6LYumsA
- display where image was focused
- hue intensity diagram
5. Should you anticipate an image and then try to create it?
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What Happens When You Stop Forcing the Photograph? - 15:17 - Expressive Photography
https://www.youtube.com/watch?v=J3TbTc2mQrM
Expectation in the field and what happens when we stop trying to bend the landscape towards the photograph we hoped to make.
6. Taking time to develop ideas
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I Almost Edited These Photographs Too Soon - 14:39 - Expressive Photography
https://www.youtube.com/watch?v=Hc_wUjGnGpI
Five months between recording those raw files and processing them opened creative doorways I hadn’t even considered.
7. Shared Work
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Rich Roberts shared several images.
8. PICK A TOPIC FOR THE NEXT MEETING
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I will pick a topic for the next meeting, probably some of the classes from "The Photoshop Virtural Summit".
AGENDA FOR OUR NEXT FINE ART PHOTOGRAPHY SIG MEETING - Tue 11/17/2026 @6:00pm
1. The main topic will probably be something from The Photoshop Virtual Summit.
2.
If you want to discuss something else, send me an email and I will add it to the agenda.
3. Constructive Critiques and Other Personal Projects
4. We will pick a topic for the next meeting.
If you don't have time to research the topic or experiment with textures, or you don't have any images that you want to have critiqued, that is OK, you can just attend the meeting and participate when you want.
Please email Mike, info@fcdcc.com, when you find mistakes, missing information or if you have suggestions for the Fine Art Photography SIG and I will try to address the issues.
Thanks,
Mike Barry
================= Some Notes on Using and Creating Textures ============
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How to add texture to an image
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1. Open a new document with the appropriate Width and Height
2. Add the subject on the top layer
Adjust the size to fit the document
3. Add textures to the layers below the subject
Select textures to match subject colors and light
Adjust size (scale) and add blend modes (soft light) to the texture layers
4. Mask the subject to remove the original background
5. Adjust the mask
Use lasso tool to add or subtract parts of the selection
Remove halos by painting low opacity and soft brush
Brush: soft with Opacity=100% and Flow=%10, scrubbing builds up effect
Paint with particle brushes to maintain hair edge
(Matt recommends using: Filter | Filter Gallery | Artistic | Rough Pastels Length=36, Detail=18, Scaling=62%, Relief=26 to roughen up the edge of the mask... I don't care for this)
6. Add the Scenic Backdrop image to a new layer above the textures
Scale the scenic backdrop image to show the portion that you want to include
Blend with the lower texture layer
Adjust the Opacity of the Scenic Backdrop layer
7. Selectively Harmonize the subject and background layers transition
Adjust color of parts of subject to match the backgound
Use Curves and Saturation on a masked portion of the subject
8. Generally Harmonize the subject and background layers transition
Turn off subject layers
Create a merged copy of all layers and add to top of layer stack "SHIFT CNTL ALT E"
Turn back on subject layers
Blend the new top layer (soft light)
Adjust the opacity of the blended subject (top) layer to harmonize but not overpower the subject
Adjust the new top layer Mask to reduce the effect in the middle of the subject (paint it away)
9. Create a merged copy of all layers and add to top of layer stack "SHIFT CNTL ALT E"
10. Final adjustments using ACR
Filter | Camera Raw Filter
Add more Texture if you want the image to have more grit (like grain), or less texture if you want a softer effect
Add more Clarity if you want the image to have more grit (like grain), or less texture if you want a softer effect
Adjust Vignette sliders to taste
Color grade: Profile | Modern | Modern 08 or 09
11. Add a Painterly Overlay
Copy and merge all layers to a new top layer (SHIFT CNTL ALT E)
Option #1 Use the Oil Paint filter
Filter | Stylize | Oil Paint
Mask and adjust opacity to adjust how much of the effect is used
Use ALT drag and drop to copy a mask from one layer to another
Option #2 Use a painterly overlay
Matt's Painterly Overlays pack: mattk.com/paint Coupon Code for 50% off is "paint50"
Add a painterly overlay to the new top layer
Change blend mode to "Overlay" or "Soft Light"
Adjust opacity of the overlay layer
(or maybe just apply the painterly overlay to the background)
Option #3 Use AI to add the painterly effect
(You need to match the generated painterly overlay strokes with the image)
Open a new blank image that is the same size as your current image
Use Firefly to Generate an image using the prompt "A monochrome painterly texture in the style of an oil painting with very light brush strokes" - Content type="ART"
Use this generated image as a painterly overlay
Blend with "Soft Light"
Maybe mask the painterly overlay off the subject
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How to create a color palette from an image
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go to URL: https://color.adobe.com/create/image
drag and drop an image into the box
adjust color sample areas
click on the "Save to Library" tag
name the palette and click "Save to Library"
your new palette will be saved in the "Libraries" window in the "Color themes" section
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How to create a texture by hand
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1. Create a new document, it doesn't have to be very large
A good choice is the same size as your RAW camera images (9504 x 6336)
2. Create/pick a Color Palette
Log into Adobe? use email address and special code that they send to email address
For ideas: https://color.adobe.com/
Type in color palette search terms
Choose a palette
Click on Open
Click on Add to Library
Specify Palette Name, and "Your Library"
Click Save to Library
The new palette is in your Color Themes Library in Photoshop
3. Create a base layer and fill with the base color
HINT: Typically the texture bottom is darker than the top
4. Create a texture layer
Create a new layer above the base layer
Pick one of the 10 Texture Builder Brushes (from Matt's Texture Creator Brushes group) and a color
OPTIONAL: Adjust the Brush settings as desired
Repeat: Change Brush, Color, Opacity, Flow, Blending mode and paint stroke on a new layer
Add stain, grit, and roughen up the image (with stain, grit and roughen up brushes)
5. Create more texture layers
Repeat the same process with idfferent brushes, colors, opacity, flow, blending modes
Lightly stroke to create a sparse pattern
Add a blend mode (multiply makes it darker) (screen makes it lighter)
6. Create different texture versions from one set of layers
1. turn off some layers
2. change blend modes
3. change opacity
4. rotate or flip orientation
5. change color of a layer
6. change contrast
7. select color range and fill with a color on a new layer
8. Camera Raw filter | add texture, change things, color grading
7. Build a library of textures
Libraries tab | Create New Library "Mike's Textures"
Drag and drop flat layer into your library
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Create textures using AI tools
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1. Write your own text prompt by hand
or Use ChatGPT to create the text prompt for your AI Image Generation program
2. Matt Reccomends https://magnific.ai ($40/month 2500credits) to generate images
Tests at 2k resolution for 7 credits,
Create final texture images at 4k resolution for 22 credits
3. Or you can use Photoshop with Firefly or AI partners to generate images
Sample prompt: "Create a seamless texture with a subtle cloud-like appearance. The texture should have soft, organic patterns reminiscent of mist or vapor, but with a moderate level of contrast and structure to avoid looking too soft or blurry. Avoid heavy noise or grain - aim for a balanced texture that feels ethereal but defined. Suitable for use as an overlay or background in digital artwork. Neutral grayscale tones preferred, high resolution."
Adobe Photography plan includes 250 generative credits per month
PROMPT: "A rich, painterly abstract texture with warm golden light, featuring soft blends of amber, beige, muted sienna, and subtle charcoal accents.
The surface feels aged and organic, with cloudy transitions and a weathered, fine-art aesthetic.
Use chiaroscuro lighting, short dry strokes, fine brushwork."
#45 - Firefly - uses 1 generative credit per 3 generated images
#48 - Gemini 3 with nano bannana 2 - uses 10-30 generative credits per 1 generated image
#46 - Gemini 3 with nano bannana pro - uses 40-80 generative credits per 1 generated image
#47 - Flux 2 Pro - uses 20 generative credits per 1 generated image
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