Demystifying the Photoshop® Filter Menu


Lesson Info

Render Filters

I'm gonna take my pen tool and I'm gonna make a path. I'm not gonna make a crazy path. Later. I'm not gonna make a crazy path, I'm just gonna go like that and like that. You ready for this? Filter. Render. Flame. Boom. Hold on. Let's fill. No we'll go filter, render, flame. You could do one flame. You could do multiple flames. I wouldn't. Path directed. I mean there's all kinds of stuff inside of here. So you could do a flame. If that wasn't weird enough, you could do a picture frame. You could do a happy vine versus a sad vine. A pretty vine. Smoke signals. Party! How's that? And then, we could do a tree. You ever want to make a fake tree, there you go. So, and if you go through this, there's more. I mean it's amazing. I don't know where this came from. Never in my life of using Photoshop did I ever hear anybody say, "Man I wish I had a tree filter." (audience laughing) Never. "I wish I had a picture frame filter." Never ever did I hear... But, look at all the different trees. Like so...

mebody went through some really detailed stuff to get this stuff in here. You can change the light direction. So, if at the end of the day you learned how to make a tree, my job is done. Alright, so we gotta... We gotta render. Uh, let's see here. Clouds. Uh, clouds is kind of neat. Let me see... Let me open up my photo that we used before. And we will go... I'm gonna add a new layer to this. I say kind of neat, it gets kind of fake. But, you can have fun with it. Clouds uses your foreground and background colors. So you gotta be careful. Like, I if I do clouds now I get these angry red clouds. But if I press D for black and white, when I run clouds, I get this cloudy type of a texture. And then, we can use our blend modes. So what hides black? I wanna just keep the white. So, if I wanna just keep white and I wanna hide black, I can go to screen. Okay. And then, I can use my eraser tool, I can use my layer mask, I can use whatever way that you want to erase. And put a little bit of fakey fog, mist or clouds into the photo. I don't know that I would take it on like this photo, but if you had a photo that had a little bit of fog or mist to it and you wanted to enhance it a little bit, add a little bit more to it... I've actually, I won't say I've done it before on it. But that's the way to do it. And then difference clouds... Hold on, let's go back over here. So if you go down here or you go down here to render clouds, difference clouds is just a more intense version of clouds. Fibers. Let's go ahead and fill this. So, fibers is a way to create texture. So, I can run some fibers on it. See how I had my screen or my blend mode changed. So I could add a texture just by changing different blend modes. And then also, don't forget you got opacity too. So, that's your fibers. Let's get that back to normal. Uh, lens flare. Good luck. If you want to add a fake... If you want to add a fake, fake lens flare to your photo. Filter. Render, lens flare. Um, if you ever do add it. Add it to a layer and then you could always change that layer's blend mode. Add it to a black layer and you can change it to screen, and now I get... I get the lens flare without it. Um, and then the last one is kind of neat. You need the right photo, but lighting effects can be... It can be fun to use. So, it'll let you create a whole spotlight inside of here. I see it more for a graphical design purpose. It's not like I see a lot of photographers going in here and using this thing. But, I see a lot of graphic designers that want to add artificial type of a lighting to something in here. So, you can control it. Can make it a circle, you can change the color. You can change the gloss, the metallic look of the light. You even got different lights. Got a point light. Which is basically, almost like a vignette. And then you had the spotlight before and then you have this one called infinite light, which is just essentially massively adding light to your photo. Most of the time, you'll see the spotlight one used inside of there. And again, you can control the falloff, the color, the hotspot. And then drag these around.

If you’re the type of person who thinks: “If there’s a filter in Photoshop®, then it MUST have a purpose,” then this class is for you. Matt Kloskowski will lead you on a deep dive into the Photoshop® Filter menu. You’ll look at every filter that’s there and see some examples of how most of them can be used. By the end of this class, you’ll have a much better understanding of which filters will truly help you as a photographer and which ones you shouldn’t spend any more time wondering about.