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Inside Photoshop, July 2015 Issue
With summer in full swing, you’re probably looking for a hot way to enhance your designs. But let’s face it—during the dog days of summer you want something sizzling yet simple. Well look no further—with CC 2014’s Flame filter and some type, you can create simple, satisfying sizzling hot text effects like the one shown in Figure A!
Lay the foundation
To get started we’ll create a new canvas and then add some type. The flames generated from the Flame Filter really stand out well against a dark background, so we’ll start with a black canvas.
To create the canvas and set the type:
Make the selection
Because the Flame filter only works on a path, we’ll show you how to generate a Work Path from the text and select it so you can apply the filter.
To create and select a Work Path from text:
Infrared photography is great for bringing out the mystery and intrigue in a given subject. In Figure A, you can see an image of a park shot in infrared. In regular black and white, this picture wouldn’t be very remarkable, but in infrared, it has a spooky, surreal quality that catches your attention. However, you don’t necessarily need to purchase expensive infrared lenses for your camera in order to achieve this effect. With an understanding of infrared photography and a little channel mixing in Photoshop, you can easily simulate the look of an infrared photo.
Before digital cameras, you had to use special film that required special processing if you wanted to try traditional infrared photography. In addition, you couldn’t mix infrared shots with normal shots. With digital photography, all you need for infrared is your trusty camera and an infrared filter for your lens.
Most conventional and digital cameras take pictures of visible light. However, when you add an infrared filter, you enable a camera to use the light beyond the visible spectrum—the longer-wavelength light that our eyes don’t normally see. The results are different from what we normally see, as illustrated by the white tree leaves —something very common in infrared shots—shown in Figure A.
You can use the tools in Photoshop to transform an ordinary photo into an extraordinary infrared image. However, if you’re a digital photographer and want to shoot infrared, here are six tips for you to use to get started shooting infrared imagery.
by Amy Palermo
Surface treatments, such as reflections, can add great interest and visual excitement to images. Simple reflections are quick, and easy to do, but more complex ones that conform to a surface’s texture such as a ripple on the water, can pose a different challenge. How do you get the reflection to conform to the same ripple? We’ll show you how this can actually be quite simple with the help of a displacement map and some layer masking for results shown in Figure A.
The physics of reflections
Simply put, a reflection is light thrown back from a surface. The quality of the reflection depends on the strength of the light source (called incident light), the smoothness of the reflective surface, and the strength of the reflected light. Essentially, b light sources that bounce off smooth surfaces produce good reflections, while rougher surfaces produce more diffuse reflections.
The state of the reflection also depends on the quality of the surface and the angle at which you’re viewing the subject. For example, a mirror gives you a perfect specular reflection, while rippled water offers a more diffused reflection.
Gather your images
For this technique we’ll show you how to create a reflection of an image on some rippled water. To follow along with our example, download the file reflection.zip from the URL given at the beginning of this article, and extract the file ducks.psd. Then launch Photoshop and open the file. If you’re using your own image, arrange your layers so that the object to be reflected is on its own layer above the water layer, as shown in our example in Figure B.
by Amy Palermo
While it may be common for an image to pick up nasty background colors and cast them through your entire image, you don’t have to like it. And, more importantly, you do need to address the problem. We’ll show you how to tame that color with the help of a curves adjustment layer, as shown in Figure A.
Why such a color cast?
Color casts aren’t uncommon; however you can avoid them, if you know what to look for. There are many different ways that an image can obtain a color cast. Most of them are undesirable, however, we’ll show you which ones you’ll want to retain in your image.
You can easily go into the Variations command, and, with a few simple clicks, come out with a quick fix to your color dilemma. But quick isn’t always better, and Curves are actu
by Amy Palermo
Not every image ailment can be cured with a quick fix. However, if all it takes to eliminate a color cast from your image is one click of the mouse, it’s a great place to start, and hopefully, stop. Every image has its own set of flaws, but for eliminating an overall color cast from your image, a simple and effective means to begin is to simply readjust your midtones and, hopefully, the rest of the image might fall right into place.
We’ll use the same image we used in the article “Don’t let color casts spoil your appetite for well-balanced images” in this issu
What you’re describing sounds like you have the Snap To Document Bounds command selected. To deselect this opt
by Amy Palermo
When you’re using the Dodge and Burn tools, you can fine-tune your options on the tool options bar. One of these choices involves selecting
by Amy Courtright
The whole purpose of using guides is to make your graphics line up pe
by Stephen Dow
In Photoshop terms, jitter is the amount of variation you allow for a certain setting when using a custom brush. While jitter is typically used to vary the size, angle, and roundness of your brush in the Shape Dynamics Brush Preset of the Brushes panel, it can also affect the c
by Renee Dustman
In Photoshop, you can fine-tune the vertical space, or leading, between lines of text in your document for improved readability. To do this, select the Horizontal Type tool from the Tools panel, click an insertion point on the canvas in your document, and then type a few lines of text.
Next, display the Character panel. You can display it by clicking the Toggle The Ch
by Stephen Dow
This is a great question, as digital noise is one of the biggest problems faced by digital photographers. The good news is that you can avoid it. The first thing to do is consider your ISO setting. Higher ISO settings tend to display more digital noise than digital images taken at lower ISO settings. The fix is to lower this setting to ISO 200 or ISO 100, if possible, which reduces the camera's sensitivity to light. But this isn’t always the cause of noise. While