Filters and Creative Effects in Photoshop

Lesson 3 of 8

Infrared Effect in Photoshop

 

Filters and Creative Effects in Photoshop

Lesson 3 of 8

Infrared Effect in Photoshop

 

Lesson Info

Infrared Effect in Photoshop

Let's end up doing a faux infrared look, we wanted to look somewhat like infrared, but we didn't shoot with infrared film or in a digital camera. You can have a filter in front of your sensor removed that is filtering out on the infrared light and you can put a a filter in front of lens that cuts out most of visible lights and actually capture infrared digitally. Well, if you haven't done that and you just have a normal picture, you wanted to look like an infrared image let's see how we might be able to do that with infrared images? Usually the greenery in the image goes almost white and the blue skies in your image goes darn near black. It just gets really dark and it's really interesting look so let's open an image here and see if we can reproduce some of that look first let's try to do it within camera because everybody seems to skip camera when it comes to creative effects, but I love using camera for it. The first thing I do if I want to create an infrared look is I exaggerate the...

colors a bit because I want the separation between the blue sky in the green ground grass and trees to be more prominent just more separation there to accomplish that, I'll click on the icon here that looks like a little camera it's called the camera calibration tab and just so you know, everything I do here in camera, if you happen to use light room instead, you could do all the same things in life the only difference would be, instead of clicking on little tabs that appear across this area, you're going to just be scrolling up and down the list of adjustments in the developed module in one of those adjustments will be called camera calibration, and you find these choices you know what I'm going to do to start with is there's something called your camera profile here, and if you click on it, you're going to have a bunch of choices. Now these choices will very depending on what camera your picture was captured with, like if you captured with a nikon camera instead of a cannon, you'll have different choices, so you might need to experiment to find the choice that gives you and result that's similar to what I'm going to get here. These were shot with a candid camera, so if you find different choices, you might not get the exact names that air here, but I find the choice called camera landscape gives me the most ridiculous colors on by choosing it do you see a much more vivid the sky became and the greens as well. If you don't have the choice called camera landscape, just switch between the choices that are there and see the one that emphasizes the blues and greens the most makes him pop stand out, then the next thing I'm going to do is make this image black and white and to make it black and white. You go to a different tab here, it's this guy that's called the h s l tab under the h s l tab will be a check box called convert to cry scale, and I'm gonna turn it on then this is where I could get the formula, the blue sky to turn almost black by taking the slider called blues and turning it all the way down, and I might end up bringing it up later to find tune things, but I'll start off with it all the way down, then to get the green things within the image to be really bright. I'll take the green slider and bring it all the way up, but often times things that you visually think of is being green or actually darker yellow, and so you might need to adjust the yellow slider as well to really get into what you're thinking is green, so what do we do? We clicked on the convert to gray scale check box under the h s l tab and we're shoving the blues towards the left which means we're darkening them and we're shoving the greens and yellows towards the right and that should end up giving us trees they get much closer to being white and skies to get much closer to being black now I confined team that because often times bringing the blues all the way down will be a bit too much which is often times I want to see a little bit of a grady in't in the sky I don't want it to be solid black everywhere I want to see it very a little bit and so oftentimes blues that negative one hundred would be a little bit too much if I back off do you see a little brightness on the horizon? It all depends on the image as far as how much of that I'd like it's a personal choice or you can go all black some people like all black so we're getting a little bit of that look now with infrared images oftentimes there is look of kind of ah glow around things where it doesn't look absolutely crisp in the image and also the image usually looks rather grainy and the combination of a glowy look in the grainy look is another part of the signature of an infrared image so to get a kind of glowy looking here I'm going to click on this tab here which I believe is the basic tab and there is a setting in here called clarity, and most of the time, people crank up clarity to get their image, to have much more contrast and get the details to pop, and they rarely turn it down. You could actually have negative clarity, and the only time you usually see that used is on faces where people wanted to not be able to see the little details that air there. Well, if we want this to have a somewhat glowy field, we want to bring clarity into the negative side, so bring clarity down and as I do, watch the trees like the tree on the left, you see it's softening up may do that, so we'll get some of that soft look, then finally, and zoom up on this image, and I wanted to look grainy because infrared images usually have a grainy look. So to get grain, I'm going to click on the fx tab and that's where all fine grain, and so I could bring up the amount to control exactly how much grain I get. I could bring up the size to control how big clob jewels of grain are, and the roughness to kind of get how random they are in shape and distribution, and so then we can have both a glowy look and the grainy look that is usually a signature of infrared. And we're doing the whole thing and kameron what's nice is because we're doing the whole thing in camera raw. What we can do then is right over here we have some or tabs, and one of those tabs is called presets, so why not click on presets and within here, there's, a little icon at the very bottom, looks like a sheet of paper where the corner turned up that creates a brand new preset just give it a name, and here you could specify which settings you actually needed to make that effect, because if you have them all in here, this would override any general adjustments. He did your image to begin with, like if you change the brightness, that kind of thing, so what I might do is up here high, I can tell it I only want certain things to be applied like we ended up applying grain didn't so I could say grain and then I could also come in here and say, what are other sliders were essential to this effect in their four it's not going toe throw away any previous adjustments that have been on my image it's on lee going to change those that were necessary for this so I might tell it to apply clarity because we ended up using that I might tell it to come in here and do my gray scale conversion and I think I did, um camera calibration and where's yeah, I think that's most of them, isn't it? Then I can click ok and now in the future, I don't have to remember how I did it. I don't have to remember all those tabs I went to instead I open any picture, I simply go to the presets tabb and I have one click to apply it and it's only if I need to find tune it. Maybe the blacks are too dark, like the blue areas became too much, I could go under hs cell and fine tune it, but I don't know I need to do it every time from scratch makes sense, and I like doing this in camera, rob, because I find that the grain feature in camera is much better than most of the filters that I have in photo shop. You can apply camera as a filter, though in photo shop if you have newer versions of photo shop it's found into the filter menu. So if you ever go through any other infrared effect that once you dad grain and you don't like the look of the grain from some affect somebody's telling you to use, just go up to your filter menu, choose camera and do it from there because I would really like the look of the grain that it produces

Class Description

Photoshop can do more than bring out the best in your photo-realistic images – it can be used to produce wildly imaginative images, as well. Let Ben Willmore show you how it is done in Filters and Creative Effects in Photoshop.

Ben will demonstrate how Photoshop filters can produce an unlimited number of creative effects including: painterly treatments, faux infra red, cross processing, antique treatments, double exposure effects, and more.


Software Used: Adobe Photoshop CC 2014.2.2

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