Simulating wind movement for Photoshop. Simulate Natural Phenomena in Photoshop
Step 2
We will create a wavy wind effect. Apply Mezzotint filter (
Step 3
Then apply the Motion Blur filter (
Step 4
Apply the Edge Glow filter (
Edge thickness - 1
Brightness - 20
Mitigation - 11.
Step 5
Make a copy of the layer to save the image in case we make a mistake. Apply the Wave filter (
Step 6
Apply the Cellophane packaging filter (
Step 7
Open this photo. We will apply the effect to it:
Place this photo under the copy you created earlier. Set the copy blending mode to Overlay (
",this,event,"320px");">Blending Mode – Overlay):Hue/Saturation
",this,event,"320px");">Hue/Saturation) and enter these values:Is it possible to control the weather? Of course it is possible. And there is nothing complicated about it. True, this concerns the weather, or rather natural phenomena, captured in the photographs. In a photograph, it is enough to simply turn a clear sky into a cloudy and full one. storm clouds, and change the sunny day to late evening. Or, in a photograph depicting a calm sea, create a real storm - depict raging waves and the wind tearing down everything in its path. At your request it may rain or fluffy snow, in the blink of an eye, mysterious dungeons will light up and the spray of the surf will sparkle, fog will appear out of nowhere or a rainbow will appear. In general, the list of possible impacts on captured nature can be quite long. But let's get to the point. So, what opportunities do we have?
The wind varies
Wind simulation can be created using one of the two available filters (let’s take Fig. 1 as a basis). These are Wind filters: Filter→Stylize→Wind (Filter→Styling→Wind) - fig. 2 and Twirl: Filter→Distort→Twirl (Filter→Distort→Whirlwind) - fig.
3. The names of the filters speak for themselves. The first of them creates winds of different directions and strengths, and the second is a real typhoon.
Natural effects on water Now let's turn to water element
. To convey the excitement of the water, you can use three filters: Wave, Ocean Ripple and Ripple. The Wave and Ripple filters are used to obtain effects on the surface of the water, and the Ocean Ripple filter is used at depth.
The procedure for working with the Ripple and Ocean Ripple filters is quite simple.
Just open the image and apply a filter: Filter→Distort→Ripple (Filter→Distort→Ripple) - fig. 4 or Filter→Distort→Ocean Ripple (Filter→Distort→Ocean Ripple) - fig.
5 .
The Wave filter is more complicated: here it is important to successfully set the length, amplitude and scale of the wave. To do this, you will need to select the filter Filter→Distort→Wave (Filter→Distort→Wave) and specify the appropriate wave parameters (Fig. 6). The most similar waves to real ones can be created by sequentially going through random options for wave formation by clicking on the Randomize button.
To apply a filter, just select it: Filter→Render→Lighting Effects, set the center of the light source and the lighting overview and select the lighting parameters (Fig. 10).
Let there be rain, let there be snow!
To create a rain and snow effect in Photoshop, you will need the Brush Tool and the Motion Blur filter. If the original picture shows a sunny day, then first make it cloudy, then add some clouds, and at the last stage simulate streams of rain (or snow flakes). This effect requires some experience and is not always achieved right away, and it will not look good on every photo. The idea of such an implementation of rain and snow belongs to Bert Monroy, a graphics teacher at the University of San Francisco (Fig. 11).
So let's get started. Let's take rice as a basis. 12 .
First you need to make a sunny day cloudy. To do this, select the sky area and apply the Clouds filter: Filter→Render→Clouds, having previously selected the appropriate foreground and background colors; the main color should be in harmony with the main color of the sky in the photo, and the background color should be dark gray; then select the command Image→Adjustments→Brightness/Contrast (Image→Adjustments→Brightness/Contrast) and move the Brightness and Contrast sliders to suitable values(in our version “–35” and “–25” respectively).
Now you need to create the actual rain or snow. This is a rather long and painstaking process. First, let's create new layer Layer1, making only it visible and selected (all other layers should be invisible), the layer becomes invisible when you delete the eye icon in the Layer palette by clicking the mouse.
Let's choose grayish-white as the main color, a slightly lighter tone than the snow in the photo. Let's take a 1 pixel brush and draw a fairly large area of sparsely spaced dots on a new layer, then take a 3 pixel brush and add a few more dots. Select a small area with dots (not the entire created one, but only part of it) with the “Rectangular Area” tool and remember the pattern: Edit→Define Pattern.
Let's create a new layer Layer2, make only it visible and fill the entire area with the remembered pattern: Edit→Fill (Edit→Fill), specifying the newly created pattern as the background for the fill. Apply the Motion Blur filter to Layer2: Filter→Blur→Motion Blur (Filter→Blur→Motion Blur), selecting the blur parameters (Fig. 13). It should be remembered that the value of the Distance parameter should be small - 5-9.
Let's return to Layer1 (with the original points), make only it visible; Select another group of previously drawn points into a rectangular area and also remember it as a pattern: Edit→Define Pattern. Let's create a new layer, Layer3, and make only that one visible; fill the entire layer with the last sample and apply a Motion Blur filter to the entire area: Filter→Blur→Motion Blur (Filter→Blur→Motion Blur), slightly changing the Distance parameter.
You may need to repeat the process of copying the sample, creating a new layer, filling the layer with the last sample, and blurring it a couple more times - it depends on how much snow (or rain) you want to get. But at the same time, after working with the next layer of points, each time you can turn all layers into visible and analyze whether the effect is sufficient or not.
Ultimately, you will need to delete the layer with the original points - Layer1; make all remaining layers visible and flatten them (Fig. 14).
Spectacular fog
It is worth recognizing that there are no clear and unambiguous methods for creating fog.
So, let's create a new layer Layer1. The task of this layer is to lighten the photo, and lighten it unevenly, because the fog is usually thicker in some places and weaker in others. Let's apply the Clouds filter: Filter→Render→Clouds, having previously selected bluish-gray and white as the main and background colors (specific tones and shades, of course, are determined by the characteristics of the image). In the Layer1 parameters, set the opacity value to 20-50% (the degree of opacity also depends on the specific image, in our example it is 47%).
Let's create a new layer Layer2. We will need it to create the effect that the fog is weaker near the viewer, and much thicker in the distance (especially at the far end of the river or lake). Let's choose black and white as the main and background colors and apply a gradient to Layer2 with a turbidity of about 50% and a layer opacity of about 30-50% (in our case, 34%). The layer's blending mode should be set to Screen. Naturally, a successful option will not work out right away, but after repeated attempts to use the gradient. At the same time, when working with a gradient, you should take into account that the lightest part in the image should be in the background of the picture (in this case, in the upper right corner).
All further successes will be determined by your abilities. It would be nice to add artificial fog O greater heterogeneity. You will need to create a new layer Layer3 and draw on it as a base with a large brush in a suitable tone several spots-lines, located asymmetrically. Then you will have to sequentially select small fragments of spot-lines and apply the Twirl filter to them: Filter → Distort → Twirl (Filter → Distortion → Whirlwind).
After this, you need to perform a general motion blur of the fog: Filter → Blur → Motion Blur (Filter → Blur → Motion Blur), setting the parameters at your discretion (in our case, Angle (Distortion) is -12, and Distance (Distance) is 80 ). As a result, along with the main one, three additional layers will be created (Fig. 19).
Now, by sequentially moving the color pause markers and setting the desired colors (if you move from left to right, then black, red, yellow, green and black), you will have to achieve a suitable gradient option (Fig. 21).
After this, you should return to the image, create a new layer Layer1 (make only it visible) and draw a rainbow on it in a suitable way, working with a radial gradient. Then you need to apply the Gaussian Blur filter: Filter→Blur→Gaussian Blur (Filter→Blur→Gaussian Blur) to make the simulation look more natural (Fig. 22).
After that, reduce the Opacity of Layer1 to 21% and make the background visible. Complete the mixdown e Add layers - and the picture is ready (Fig. 23).
ComputerPress 12"2002
Is it possible to control the weather? Of course it is possible. And there is nothing complicated about it. True, this concerns the weather, or rather natural phenomena captured in photographs. In a photograph, it is enough to simply turn a clear sky into cloudy and full of thunderclouds, and change a sunny day to late evening. Or, in a photograph depicting a calm sea, create a real storm - depict raging waves and the wind tearing down everything in its path. At your request, it can rain or fluffy snow, in the blink of an eye mysterious dungeons will light up and the spray of the surf will sparkle, fog will appear out of nowhere or a rainbow will appear. In general, the list of possible impacts on captured nature can be quite long. But let's get to the point. So, what opportunities do we have?
The wind varies
Wind simulation can be created using one of the two available filters (let’s take Fig. 1 as a basis). These are Wind filters: Filter→Stylize→Wind (Filter→Styling→Wind) - fig. 2 and Twirl: Filter→Distort→Twirl (Filter→Distort→Whirlwind) - fig.
3. The names of the filters speak for themselves. The first of them creates winds of different directions and strengths, and the second is a real typhoon.
Now let's turn to the water element. To convey the excitement of the water, you can use three filters: Wave, Ocean Ripple and Ripple. The Wave and Ripple filters are used to obtain effects on the surface of the water, and the Ocean Ripple filter is used at depth.
. To convey the excitement of the water, you can use three filters: Wave, Ocean Ripple and Ripple. The Wave and Ripple filters are used to obtain effects on the surface of the water, and the Ocean Ripple filter is used at depth.
The procedure for working with the Ripple and Ocean Ripple filters is quite simple.
Just open the image and apply a filter: Filter→Distort→Ripple (Filter→Distort→Ripple) - fig. 4 or Filter→Distort→Ocean Ripple (Filter→Distort→Ocean Ripple) - fig.
5 .
The Wave filter is more complicated: here it is important to successfully set the length, amplitude and scale of the wave. To do this, you will need to select the filter Filter→Distort→Wave (Filter→Distort→Wave) and specify the appropriate wave parameters (Fig. 6). The most similar waves to real ones can be created by sequentially going through random options for wave formation by clicking on the Randomize button.
To apply a filter, just select it: Filter→Render→Lighting Effects, set the center of the light source and the lighting overview and select the lighting parameters (Fig. 10).
Let there be rain, let there be snow!
To create a rain and snow effect in Photoshop, you will need the Brush Tool and the Motion Blur filter. If the original picture shows a sunny day, then first make it cloudy, then add some clouds, and at the last stage simulate streams of rain (or snow flakes). This effect requires some experience and is not always achieved right away, and it will not look good on every photo. The idea of such an implementation of rain and snow belongs to Bert Monroy, a graphics teacher at the University of San Francisco (Fig. 11).
So let's get started. Let's take rice as a basis. 12 .
First you need to make a sunny day cloudy. To do this, select the sky area and apply the Clouds filter: Filter→Render→Clouds, having previously selected the appropriate foreground and background colors; the main color should be in harmony with the main color of the sky in the photo, and the background color should be dark gray; then select the command Image→Adjustments→Brightness/Contrast (Image→Adjustments→Brightness/Contrast) and move the Brightness and Contrast sliders to the appropriate values (in our version, “–35” and “–25”, respectively).
Now you need to create the actual rain or snow. This is a rather long and painstaking process. First, create a new layer, Layer1, making only it visible and selected (all other layers should be invisible) - the layer becomes invisible when you delete the eye icon in the Layer palette by clicking the mouse.
Let's choose grayish-white as the main color, a slightly lighter tone than the snow in the photo. Let's take a 1 pixel brush and draw a fairly large area of sparsely spaced dots on a new layer, then take a 3 pixel brush and add a few more dots. Select a small area with dots (not the entire created one, but only part of it) with the “Rectangular Area” tool and remember the pattern: Edit→Define Pattern.
Let's create a new layer Layer2, make only it visible and fill the entire area with the remembered pattern: Edit→Fill (Edit→Fill), specifying the newly created pattern as the background for the fill. Apply the Motion Blur filter to Layer2: Filter→Blur→Motion Blur (Filter→Blur→Motion Blur), selecting the blur parameters (Fig. 13). It should be remembered that the value of the Distance parameter should be small - 5-9.
Let's return to Layer1 (with the original points), make only it visible; Select another group of previously drawn points into a rectangular area and also remember it as a pattern: Edit→Define Pattern. Let's create a new layer, Layer3, and make only that one visible; fill the entire layer with the last sample and apply a Motion Blur filter to the entire area: Filter→Blur→Motion Blur (Filter→Blur→Motion Blur), slightly changing the Distance parameter.
You may need to repeat the process of copying the sample, creating a new layer, filling the layer with the last sample, and blurring it a couple more times - it depends on how much snow (or rain) you want to get. But at the same time, after working with the next layer of points, each time you can turn all layers into visible and analyze whether the effect is sufficient or not.
Ultimately, you will need to delete the layer with the original points - Layer1; make all remaining layers visible and flatten them (Fig. 14).
Spectacular fog
It is worth recognizing that there are no clear and unambiguous methods for creating fog.
So, let's create a new layer Layer1. The task of this layer is to lighten the photo, and lighten it unevenly, because the fog is usually thicker in some places and weaker in others. Let's apply the Clouds filter: Filter→Render→Clouds, having previously selected bluish-gray and white as the main and background colors (specific tones and shades, of course, are determined by the characteristics of the image). In the Layer1 parameters, set the opacity value to 20-50% (the degree of opacity also depends on the specific image, in our example it is 47%).
Let's create a new layer Layer2. We will need it to create the effect that the fog is weaker near the viewer, and much thicker in the distance (especially at the far end of the river or lake). Let's choose black and white as the main and background colors and apply a gradient to Layer2 with a turbidity of about 50% and a layer opacity of about 30-50% (in our case, 34%). The layer's blending mode should be set to Screen. Naturally, a successful option will not work out right away, but after repeated attempts to use the gradient. At the same time, when working with a gradient, you should take into account that the lightest part in the image should be in the background of the picture (in this case, in the upper right corner).
All further successes will be determined by your abilities. It would be nice to add artificial fog O greater heterogeneity. You will need to create a new layer Layer3 and draw on it as a base with a large brush in a suitable tone several spots-lines, located asymmetrically. Then you will have to sequentially select small fragments of spot-lines and apply the Twirl filter to them: Filter → Distort → Twirl (Filter → Distortion → Whirlwind).
After this, you need to perform a general motion blur of the fog: Filter → Blur → Motion Blur (Filter → Blur → Motion Blur), setting the parameters at your discretion (in our case, Angle (Distortion) is -12, and Distance (Distance) is 80 ). As a result, along with the main one, three additional layers will be created (Fig. 19).
Now, by sequentially moving the color pause markers and setting the desired colors (if you move from left to right, then black, red, yellow, green and black), you will have to achieve a suitable gradient option (Fig. 21).
After this, you should return to the image, create a new layer Layer1 (make only it visible) and draw a rainbow on it in a suitable way, working with a radial gradient. Then you need to apply the Gaussian Blur filter: Filter→Blur→Gaussian Blur (Filter→Blur→Gaussian Blur) to make the simulation look more natural (Fig. 22).
After that, reduce the Opacity of Layer1 to 21% and make the background visible. Complete the mixdown e Add layers - and the picture is ready (Fig. 23).
ComputerPress 12"2002