How to Get More Sales on Fiverr

Thursday, August 14, 2014

Fiverr is an awesome site to get freelance work. I believe Fiverr is much better than the bidding sites such as Odesk and Freelancer. It doesn’t take that much effort to set up your profile and it certainly won’t take long before you start getting a regular flow of orders.
how to get more gigs on FiverrInitially, I had a bad experience on Fiverr. It took me a couple of months to get just 5 gigs, but after I used some of these tips, I got more sales (gigs) and finally became a Level 2 seller. In fact it took me only two months to move from having delivered only 5 gigs to an amazing 72 gigs. Nowadays, it is very rare to miss a number of daily orders and I ended up making Fiverr my main freelancing site.

1. Use a better gig description

The first mistake I made on Fiverr; I had a very plain gig description. I offer freelance writing services on Fiverr yet my description only had 40 words – how bad is that? Turn your gig description into a sales pitch. How?
  • Use ‘happy’ adjectives. Adjectives such as awesome, great, beautiful, best etc. should feature as much as possible. Don’t ask me why, just try this out and let me know the results. This is an old psychological sales trick.
  • Write the description in perfect English, even if your gig does not require you to be good at English. If that is hard to come up with, find a guy on Fiverr to do it for you. This will also increase the chances of having your gig featured.
  • Provide samples of your work e.g. If you are graphic designer, you should provide a link to your Flickr account or anywhere where you have displayed your portfolio.
poor gig description on Fiverr
poor gig description

 2. Promote your own gigs and send offers

There are millions of gigs on Fiverr; it wouldn’t hurt if you tried a little self-promotion. It can be on your blog, Facebook, or even on the Fiverr blog: it works. Another great feature on Fiverr is the ‘buyer requests’ where you can offer your services buyers. Once in a while, I submit my offers and I often get good results. To date, I have made 29 offers, and 8 out of those have resulted in actual sales
buyer requests on Fiverr
buyer requests on Fiverr

3. Make follow ups

I always attempt to make as many follow ups as possible. This is probably why most of the orders I get are from repeat clients. Just send them a message after a few weeks, reminding them that you still exist. Well, don’t put it that way. Just make sure you send them a message. Don’t Spam them! Always remember to ask you client to leave a positive review, some of them just forget. These positive reviews will certainly help you get more gigs in the future.

4. Use an Awesome Picture and Gig title

Like I said, getting more sales on Fiverr is not about the quality of your services, but it is all about how good a salesperson you are. Get a killer profile pic – make sure you are smiling – and use high quality photos for the gigs. Now, your gig title should be short, descriptive and must include on of the ‘happy adjectives I talked about earlier e.g.
Poor title: I will design a logo
Good title: I will design for you an Awesome Logo
Another tip – I price my gigs at slightly higher than the average across Fiverr yet I still get orders. How? I know how to sell my gigs to the customers who send me a message to show an interest in hiring my services. NEVER underprice your gigs, or compromise the quality of your work.
Follow some of these tips and if you still find it hard to get more gigs – be patient.

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Wednesday, August 13, 2014

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3 Ways to Retouch Fly-Away Hair

Thursday, August 7, 2014

Final product image
What You'll Be Creating
I really enjoy portraiture. When it's done well, it is very satisfying and tells a lot about the person in the photo. However, there is always a little element that is a constant problem for me: fly-away hair, frizzies, or whatever you call them. They're the strands of hair that stick out from the person's head and make your photo look a little messy. Especially with corporate or fashion photographs, they're practically unacceptable and must go.
I'll be showing you three techniques that will give you options when tackling those pesky follicles while keeping the final result natural-looking. As with any retouching, it's a balancing act of taste vs need while keeping it realistic. If you go too far, then you'll end up with "helmet hair" which often looks fake.
Retouching an image is supposed to be done well and subtle enough that the viewer doesn't notice it. A lot of that comes from producing the shot properly in the first place, but the rest comes from good technique and application. So, having your subject well-groomed or using a hair stylist can be really helpful in reducing the amount of time and effort needed to fix hair's errant ways. For the rest, use these three techniques.
Clone Stamp is the Captain Obvious choice for removing heretical hair in Adobe Photoshop. Simply sample the clean area and then brush over the hair and make it go away. However, if you've used this tool before, you'll notice that it has short-comings.
Its main strength is also its main weakness: it copies exactly what you sampled, pixel-by-pixel. This can be a problem with textured backgrounds or variations in color or luminosity. However, with evenly-lit and evenly-colored backgrounds, the Clone Stamp is awesome.
Nasty fly-away hair
Even though I used a very small brush size, re-sampled repeatedly and closely, and used the Lighten blend mode, the Clone Stamp Tool couldn't handle the gradient.
You can further refine your cloning and reduce problematic color/luminosity variations by using different Blend Modes for the brush. I use only three different modes:
  • Normal
  • Darken
  • Lighten
The Normal mode works most of the time, but sometimes it's too exacting and can be a problem with backgrounds that have a slight texture. Using the other two modes can make my changes literally hair-thin.
Blend modes
I use the Darken blend mode to retouch lighter hair that's against a darker background. I use the Lighten blend mode to retouch darker hair against a lighter background. The effect stops once the hair reaches the same luminosity and color value as the sampled area. It will leave the areas that already match untouched, so your corrections are only a couple pixels wide even if your brush size is many times larger.
The Healing Brush is a more refined version of the Clone Stamp tool. It copies the color, luminosity, and texture from the sampled area over to the target area. It then applies some math and very seamlessly blends the two into something that looks natural.
The Healing Brush is great for removing blemishes, pimples, unwanted facial or body hair, sensor dust, etc. It works better than the cloning technique mainly because it isn't an exact copy, but smoothly blends the target and sample areas with the target's surroundings.
Use this tool for backgrounds that are a little more complex or textured -- wherever the Clone Stamp is failing. You can also use it to clean up mistakes the Clone Stamp has made while preserving the texture. I use it for hair that crosses the face or is on clothing so that I can be rid of it without losing the complexities of the skin or fabric.
Again, you can utilize the Blend Modes to further refine your retouching.
Unfortunately, the blending prowess of the Healing Brush is also a shortcoming. It doesn't do well when your target area is too close a hard line, such as the edge of someone's head. You'll get a blurred bleed and it looks messed up. In this case, the Clone Stamp tool may be better suited, adjust the brush's hardness to match the transition.
Blurred bleed produced by the Healing Brush
You can see what happens when the Healing Brush can do when it gets close to a high-contrast edge. This can happen even if your brush is tiny.
So, now you know two tools that zap away errant hair and when to use them, but we'll go over some common settings I use that get the job done. Through experiment and experience, I've figured that these tend to produce the best and controllable results.
I use a Wacom tablet for maximum control and flexibility, but this will work with a mouse, too. If you don't own a Wacom and you're doing retouching, then buy a pen tablet. They start at about $80 (USD) and last a long time. Mine is six years old.
I usually keep the default shape settings, a circle, and use it at 100% Opacity. I vary the brush's hardness, but rarely go over 80%. In fact, I use this brush at 0%, 20%, 50%, and 80% increments as I've found it covers most of my needs. Of course there are times that I'll use a different hardness setting, but that is case-by-case. And with the pen tablet, I can vary that further with pen pressure.
Like I mentioned earlier, I utilize different Blend Modes when I need to. Appropriately matching these different settings to your situation will result very good cloning and a faster workflow.
A lot of people would tell you to use this brush with a soft edge. I'm going to tell you to do the opposite. Keep it at 100% Hardness all the time. Additionally, change your brush's shape (Roundness) to a narrow ellipse between 20 and 30%. I also angle it and change the direction, depending on my needs.
Adjusting brush parameters
You can change the angle to adapt to each situation.
What these settings do is help the Healing Brush work better by forcing it to re-sample more often and more randomly than a soft-edged circle. Since the Healing Brush automatically applies blending, you really don't need a soft brush. The results have been very natural as well as a greatly reduced risk of that edge blurring I mentioned earlier.
Finally, keep your brush size only slightly larger than the area you wish to correct, especially with fly-away hair close to the edge of someone's head or if the background changes color or luminosity too greatly.
While this technique is mainly independent of the other two, it does incorporate the others for maximum efficacy. It is a really quick way to remove nearly all that fly-away hair with a single filter effect with some basic masking. Aside from the processing bottleneck, it is faster than going over each hair with either the Clone Stamp or Healing Brush.
Unlike Gaussian Blur or the other blurs, Surface Blur doesn't blend the edges beyond it's threshold setting. Surface Blur considers something an "edge" when there is a significant change in color and/or contrast. So, things like skin, clothing, and other fine details will be smoothed, but not the edge of someone's face -- or the main mass of hair.
Gaussian Blur and Surface Blur compared side-by-side
Gaussian Blur, left, just blends everything together. Surface Blur, right, keeps edges defined.
Surface Blur is a great way to clean up a hair edge when you have a gradient background -- where the Clone Stamp would struggle. It will do a nice job maintaining gradual tonal changes while keeping hard edges well-defined. Give it a go when you have an image with a graduated background.
Let's get into the steps for using Surface Blur to clean up hair in your images.
Back to the begining again
Here is our sample head. Lots of little stray hair and the Surface Blur technique will do a lot of the work for us. (ISO 200, f/8, 1/160sec, flash comp +1.3)
Drag the layer onto the "Create New Layer" icon (Cmd+J or Ctrl+J) so that you don't affect any previous retouching you've done. You can convert this new layer into a Smart Object (Layer > Smart Objects > Convert to Smart Object) to be able to change your settings without having to reapply the filter from scratch. Converting to a Smart Object is optional.
Go to Filter > Blur > Surface Blur in order apply it. You'll see a preview of the effect at its current settings.
The Surface Blur filter has two sliders, Radius and Threshold. The Radius determines the amount/strength of blurring. The Threshold determines the tolerances of what the filter considers to be an "edge." Going too low with the Radius will give you a halo and going too high with the Threshold will make you lose your edges.You'lld to adjust the sliders so that the fly-away hair disappears due to the blurring, but the main body of hair and hard edges remain quite sharp. This will take some experimenting and will vary from image to image. However, I've found that a Radius of 40 pixels and Threshold of 20 pixels gives me great results.
Adjust Radius and Threshold controls for the Surface Blur tool
As you can see, a lot of the stray hair is gone while the main body of hair is intact.
Once you've gotten the settings pretty close, apply it and evaluate the results. A lot of the isolated hair should be gone or mostly gone.
Before and After Surface Blur
After applying Surface Blur, the hairline has been cleaned-up significantly. The stragglers can easily be handled with the Clone Stamp Tool. (230% zoom)
There are times when the Surface Blur gets the job done, but often you'll need to tackle the few that got away. With a soft-edge brush, Clone Stamp those escapees by sampling very close to the target area to avoid noticeable color variations. I keep my brush no higher than 50% hardness.
Clean up with Clone Stamp after the Surface Blur filter
Sampling very close to my target area, I got rid whatever the initial Surface Blur missed. However, I made sure to try to keep it natural-looking. (230% zoom)
Try not to make the hairline too clean because then it will look unnatural. You can do a second round of Surface Blur at lower settings if it could use a little more general refinement.
Now it's time apply the effect only to the outer hairline. Create a Layer Mask on your layer with the Surface Blur by clicking the "Create Layer Mask" icon. Invert the color of the mask from white (visible) to black (invisible) with Cmd+I (Mac) or Ctrl+I (PC). This will hide the effect.
Create Layer Mask
Create a Layer Mask and then invert (Cmd+I or Ctrl+I) it to hide the effect.
Now, with a hard-edged brush (about 80%) reveal the effect by painting on the mask with white. Limit the revealing by only brushing over the hair that need to go away. You don't need to be very precise because the Surface Blur should maintain the edging of the main body of hair.
Paint on layer mask to reaveal effect
This is what the mask should look like. (100% zoom)
Surface Blur usually removes all the noise (grain) in an image. This lack of texture can ruin the effect by being too smooth. We'll need to add noise in a dosage that matches the rest of the image.
Add noise to match retouched area to rest of image
I zoomed in to 330% to show in more detail the differences between that retouched and un-retouched areas. This is difference is visible at 100% and will be more obvious with high-ISO photographs or under-exposed images that have been brightened.
Make sure you're working the image of the Surface Blur layer and not the mask by clicking on the thumbnail of the layer. Go to Filter > Noise > Add Noise.
Select image not mask
Make sure the layer's image thumbnail, not the layer mask, is highlighted. Otherwise, you'll be adding noise to the layer mask.
In the Add Noise dialogue box, turn on the Gaussian and Monochrome settings. Adjust the slider until the noise pattern and density closely matches the rest of the image. While not entirely necessary, this small detail does an excellent job hiding the retouching you've done.
Turn on Gaussian and Monochrome settings
For this image, I applied 3% Noise. It's not perfect, but is the closest match. At 330% zoom it's really good and when we zoom-out to 100% you won't notice it.
Lots of errant strands of hair before retouching
Before retouching
Final image nice clear hair without fly-aways
After retouching
When you have a great portrait, sometimes fly-away hair can really be a pain. While cloning and healing are great, they do have limitations. Using them in conjunction with the Surface Blur technique can not only improve your retouching results, but also cut-down on the time and tediousness of either technique alone.
With practice, you'll be able to evaluate an image and quickly decide which of these techniques will be most effective in removing fly-away hair

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Create a Photo Manipulation of an Emotional Dancer in a Forest Part 1

What you’ll be creating

We’ll start this tutorial by creating an autumn forest scene from two stock photos. Then we’ll adjust color, shade and light as well as make a dreamy effect. Later we’ll add the model and do some retouch to match her with the scene. After that we’ll use two stocks to create lighting effect. Finally we’ll use some adjustment layers to boost the final result. You’ll need Photoshop CS3 or newer to follow this tutorial.

Tutorial Resources

Step 1

Create a new document in Photoshop with the settings below:

Step 2

Open the forest image. Use the Move Tool (V) to drag it into our white canvas:
Go to Edit > Transform > Flip Horizontal:


Step 3
 To create some depth to the background , go to Filter > Blur > Gassian Blur and set the radius to 6 px:dance3

Step 4

To make some light for the background, go to Layer > New Adjustment Layer > Curves and increase the lightness:
On this Curves layer mask use a basic, soft brush with black color to erase the left:

Step 5

To make the left darker I used another Curves adjustment layer :
On this Curves layer mask use a soft black brush to erase the right to keep its brightness:

Step 6

Open the ground image. Hit Cmd/Ctrl+Option/Alt+Shift+N to make a new layer. Active the Clone Tool (S) and use it to remove some branches on the ground:

Step 7

Press Cmd/Ctrl+Option/Alt+Shift+E to merge the background layer and the clone one. Move the merged layer into our main document:
Click the second button at the bottom of the Layers Panel to add a mask to this ground layer. Use a soft black brush to remove the trees and blend the ground with the background:

Step 8

Apply Gassian Blur with 4 px to this ground:
On this Filter Mask use a soft black brush to remove the blur effect on the foreground:

Step 9

To change the color of the ground, I used an adjustment layer with Clipping Mask. Go to Layer > New Adjutment Layer > Hue/Saturation:

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