Adobe® Photoshop® CS6 New Features

Lesson 30 of 47

Lighting Effects Filter

 

Adobe® Photoshop® CS6 New Features

Lesson 30 of 47

Lighting Effects Filter

 

Lesson Info

Lighting Effects Filter

The new lighting effects filter now don't snorkel nose up because when I say new, I really mean redesigned its not me lighting effects filter has been around for a long time, but it only works in the thirty two bit version of the program and see us five okay, so to use it at all, you had to launch the program in thirty two bit mode instead of sixty four bit okay photoshopped cia six on lee runs in sixty four bit on a man, so I don't be redesigned the lining filter and let me show you what the lighting filters all about. So here we've got an image and this is not the original lighting it's lighting that I added via the lighting effects filter so you can choose from all kinds of presets or even set your own lights around the scene to relight a shot after the fact just pretty incredible so here I have used the preset three lights down and I've made them a cream color you can control the color of the light, I'll turn that layer off and show you another one that I made this is using the blu...

e omni light it's another priests it and you can move the lighting effects around the new lighting effects filter and cia six uses that same full screen interface is the border filters that's a really nice thing and here's our original image so you can see the different looks that you can create using lining effects. So I'll go ahead and turn off the visibility of these guys and let's, go ahead and create one. We'll turn this image layer into a, uh, smart objects that we can use smart filters and then choose the filter many again choose render and lighting effects. So here we are in that same kind of interfaces we have with the blur filters. We've also got the same kind of on image controls is here. Okay, so if I zoom in, you can see instead of this being a blur ring in this instance, it controls light intensity. Okay, you can grab the little pin to move the light around and as you can see, even if we just did, if we just left it with this default life, we could create a really need effect after the shot without having to go back and reshoot or rehire the model or so on so forth. So the lights that you add either through the pre set menu appear in the options bar and there's a bunch of them or at the default life that you get new customizing it, using the sliders over here on the right hand side, they all show up in this whole panel down here on the right called lights so right now, it's showing me that I have one spotlight in this image and I can toggle the visibility of it often on to see if I'd like it. You can add as many lights as you want and if you add too many or decide let's say you add a bunch and you're toddling their visibility often on to see if you like him or not you just find some that you don't like well, you can just click and drag them to the little bitty trash can that's at the bottom right of the panel kind of likely your styles and smart filters all right, so let's, take a peek at creating that blue on the light so we'll use our preset many at the top and we'll choose blue on me and we get kind of ah really wild effect here. So again the pen we'll move the light around depending upon, um where you'd like it this ring right here controls the size of the light and again it's a you can either drag it in a circular direction or you can kind of drag it outward almost a cz if he were re sizing it using free transform except you don't have if we transform handles what you have to do is hover over it until it turns yellow okay see that screen right now, I can't really grab it until it turns yellow and then I can click and drag to change the scale that's a really neat thing, but we're here on the right hand side, you can control the color of the lighting, so if I wanted something other than blue, I can click the color swatch here, and I can choose any color I want from the color picker, and I can also colorized the ex closure if I want, and I can increase or decrease the exposure. Okay, so you can think of this intensity slider as the intensity of the available light, and you can think of the exposure slider as the quantity of available light, so if you want more available like to play with, bump up that exposure, you can give it a glossy sheen if you'd like the light itself, and you can also give it a metallic property, if you want all kinds of wonderful things you can do with this. So let's, take a look at the other one that I created. It was a triple spotlight that was kind of need. You get some different controls, so I do have three lights here. I know that because a couple of reasons I've got three spotlights over here, my lights panel, but also I've got these funky little cone shaped outlines at the top of my image, so the first life is ah activated here but I could select or activate rather all of them in order to change them simultaneously if I wanted all you have to do is shift click one of the outlines so now I've got all three lives activated and you can change I think you can change their strengths simultaneously if it'll let me grab it may just be moving them together so all kinds of wonderful things you could do with this and if you want to create lights yourself you certainly can you can not use the process and you could just use all these sliders over here you can choose between point spot and infinite lives and then you can use these sliders to like we said earlier change the color of the lighting, the intensity color of the exposure and so on and so forth soldiers go and say ok, I went again you can press and hold that get it I thought you could president of the age key to hide all that see when that makes sense to go ahead and click ok and since you had the wherewithal to run the lining affects filter on a smart object it's not destructive so if you decide you don't like it can change that another anything that you can do since this is a smart object is you could change the capacity level or blend mode of just the spotlights if you wanted this tiny little cryptic icon that appears to the right of any filter that you run on a smart object if you double click it you open a dialogue box that lets you affect properties of that particular filter ok so I've got an opacity setting here if I lower the opacity that lowers the opacity of just that filter and in this particular case that's a lighting effects and I can also change the blend minute if I wanted for different color affects different kinds of effects go ahead and click cancel neat stuff, huh? So the lighting effects all redesigned in cia six so here's another one that I did this one was kind of fun. This is a triple spot and since I ran it as a smart object or ran the filter is a smart filter rather on a smart object I got an automatic layer mask. Okay, so what I did let me go ahead and fill that mask with, uh groups not that I'll feel that mask with white so you can see what it looks like before I masked it are super here on the left here is is completely unlit now ok, so what I could do to bring him back into focus a little bit is really a hero shot now is I could grab my breast tool by pressing b and instead of painting with black where blackwood conceal one hundred percent I could paint with gray, which would partially conceal the lighting that's now on our second super hero but that's easily done. Even if you start out with black, you, khun simply pop up to the options bar and change the opacity of your brush. So even though I'm painting with solid black watch what happens over here in my layers panel in my smart filter mask, as I paint across the second hero's face, see it painted with gray, because I simply lowered the opacity of my brush, so I limited the amount of pain it's laying down. So that was a that was a neat one that's the before that's the after and here's another one, those air three spots down so that's, another interesting one. The questions on the newly redesigned and sixty four bit lighting effects filter. Well, first, a comment julie pressphoto says, wow, this is scary. Good. So many possibilities and see us that's really incredible can't really is. And if you think about what's happening here, I mean, my gosh, the ability to relight you know your subject and creative ways after the shot. It's amazing now, some of you in class or professional photographers and certainly a lot of you on the internet, are I'm not going to say that this is better than a lighting your subject in studio of course if you can do it in studio that is the best place to do it but if you want something creative this is definitely a good possibility photos by johnny asking the lights come up from the bottom yes yeah. You can use those on image controls to spin the lights around a lot of the same things that we did with those same kind of controls in the blur filters question from mary from costa rica can you apply additional effects to the lighting effects say motion or radial blur we could certainly continue to run more filters that's the way he would do that I'm not sure what kind of result you would end up with that but she could run additional filters yeah it's wrong and could you again show how you get uh pin toe work? I get the pain for sure so let's turn off the sky and will convert his original layer for smart filters and then we will go to the filter menu choose render lighting effects all right so to get this so to move the pen just click and drag on the pin itself but to change the intensity of the light you can grab one of the sides and drag it around now I had better luck that time with grabbing that side the left side so just click around within their in this instance, I guess it's the lighting ring instead of a blurring and then you can distract that around so it might take a couple of clicks toe toe actually click on a grab a ble spot see if I grabbed the top area so what you're trying to do is grab that dividing line between the white and black and if for whatever reason it won't let you grab it then you can try grabbing the other one pretty cool there's actually a preset before lights up so here's one there's five lights up so if I wanted to click and if I wanted to move them all down then does shift click to act today all of them and grabbed one of their pins and it's moving down, wind them out possibilities are endless that's a lot of fun I don't really like that effect all the lights are shining on his underwear and a question from elisa see in houston do you know how these types of lighting will print when you change the mode to see him like a since you're creating them in rgb? And she was specifically asking about that blue lighting but you did earlier okay wait time he changed color moon from rgb two cm like hey, you need only do that if you were forced into it by your printing press okay, you're gonna get a little bit of a darkening, so the blues all dark and a little bit, so you will get a little bit of a conversion change with the color. But it's it's not going to be hugely noticeable, okay, but these days, with the, uh, onslaught of a digital printing presses that we have the likelihood that you're going to be forced to change the color motive, your document from rgb to seem like a is becoming less and less these days. If your printer makes you change from rgb to seem like hey it's, either an older press or an older printer who maybe hasn't upgraded their image centers on a lot of the printers of freezing digital presses. Now, I would rather let the machine or the image center do the conversion rather than you do it so and we're going to see more, more, more, more of that. So we will have to deal with seeing my k, at least in my own humble opinion, less and less and less and less and less the more of these printers that that jump on the digital press. Bandwagon simply because their machines to a far better job of converting the colors from rgb to seem like a than you can in the reason you're going to get a shift in color anyway, when you go from rgb to seem like a, it seem like hey can't display near the colors that rgb can that's called the color gamut think of that is the range of colors it's possible is far less when you're dealing with ink than it is when you're dealing with digital pixels. Alright, your monitors can display far more colors than inc can ever reproduce, so that's why your color gamut of seem like a is so much smaller your range of colors it's just a lot smaller because you're dealing with the in your range of colors in the digital realm is huge because you're dealing with lighting and you're not limited to substrates like paper and things like that. So that's why you get a little bit of a shift from rgb to seem like a because there's fewer colors that could be reproduced with ink and seem like a c it's all that theory, the why behind how rg photo is wondering if you converted the background layer tour smart object before using the lighting effects, or uh, did you duplicate the layer? I did a smart object. Yeah so you could either if you've already got your image open okay always come back over here to space girl well let's play with a different one I think I have another image here now same one all right, so if you've already opened your image than the first thing you wanted to use choose filter convert for smart filters if you've not opened your image you could save yourself a step and she's file openness smart object navigate to where that image lives and then it will automatically open as a smart object like that so we I know it's a smart object because it has that special badge on the layer thumbnail but to be honest with you guys because I feel like I could be honest I forget tio open the darn thing is a smart object I have never once remembered to use file opened a smart haji even when I know full well that I'm first thing I'm gonna do use cheese filter convert for smart filters which it could be the same thing is opening is a smart object c I'm human too and then of course as soon as you have the smart object he can go run your lighting effects filter another thing about filters is you'll notice now that lighting effects appears at the top of the field term in need that's because the last filter you ran will always appear if they're at the top but while that does give you quick access to the previously ran filter, you could also use a keyboard shortcut to trigger it. Commander control f on a pc, you don't get a dialogue box with it, and, of course, it proves me wrong. So for lighting effects, you get a dialogue box for most of the other filters. When you re run them again. After you just ran them, you don't get a dialogue box. They simply apply themselves at the settings you used. Previously. See, photo shop keeps me on my toes.

Class Description


Lesa Snider returns to CreativeLive for an intensive Adobe® Photoshop® CS6 tutorial. Whether you've already upgraded or are still deciding, Lesa shows you practical yet non-destructive editing techniques you can use every day. This 3-day course is a perfect companion to Lesa's previous Adobe® Photoshop® CS5 tutorial on CreativeLive.

Lesa dives further in-depth into advanced filters such as Puppet Warp, Liquify, and Lighting Effects, which all take advantage of the new processing power of Adobe® Photoshop® CS6. Lesa also spends a full day covering Adobe® Photoshop® CS6's brand new video features.

Software Used: Adobe Photoshop CS6

Reviews

Alvin Lim
 

Lesa's methodical way of coaching is done with ease and clarity. Together with John Greengo and Sue Bryce, she is one of my favourite mentors in CL. I purchased her CS5 and even before finishing it got the CS6 intensive class. Now Photoshop is no monster to fear but a powerful monster to create impact-fully beautiful photos. Good for both beginners and advance users!