The Magic of Smart Filters

Lesson 3 of 6

Combining Smart Filters and Masks in Photoshop

 

The Magic of Smart Filters

Lesson 3 of 6

Combining Smart Filters and Masks in Photoshop

 

Lesson Info

Combining Smart Filters and Masks in Photoshop

Where is she going to skip to this example here because right now I showed you how to apply one adjustment using the smart filter but what the smart filters we can actually apply more than one filter to the image some in this case here what I'm going to do is I gotta get this trend and I'm going to apply a different field effect to this and then maybe we'll do something else or some other blurring so let's have a look at this right now let's check this out so what I'm going to do is I'm going to apply the different field effect first so we're going to go here first thing in the deuce compare this to a smart object so now we have a smarter just I'm going to go here and reset my work space here we go I'm very, very missing with my pal it's. By the way, can you imagine what my desk looks like and my desktop you know what? I'm not what I do a presentation I create a little fault, I call it their stop and I grabbed everything in period and normally it spread across two screens of icons I'm ...

I'm just I created a trail of destruction behind me not not so administrative all right? So we get to play a filter sunday the filters now we congrats our blur gallery and under the blur gallery I'm going to create a field blur, which is essentially a depth of field effect so right now, as you can see it's where can really well so I'm fading this from one to another and that is if I just can I continue blur up and down not very useful by itself. However, if you had a second point now you can blame between the two points s o if I want to turn the blurred down on here, I can actually the control key and just double click and that will take it to zero that's a new feature that was added in the last a couple of months and photoshopped didn't used to do that, so the first version of sisi didn't do that? No, you can't and you go here and if you change the amount of blur here notice I'm able to just play around here with cream definitely old looks awesome there we go get a nice tip appealed, however notice up here it's not very realistic, right? Because we get a different feel a bit isn't their distance between this and that wall shouldn't it will be blowing a little bit? I think green should, so what we're going to do is we're just gonna apply this and I'm going to hide the blur gallery for now notice a little ii common me up here so over here we can show and hide things by turning on the little eye, and so we're just going to turn that off and now we're going to apply just our favorite goes even girls analogy blur let's just pull it edgy blur so he's going to choose phil to blur and we're going to go under the course in a blur gazan blur blur and I'm just going to create a little bit of a blur that's what it's doing is giving us death now so it's going to look a lot more realistic so you click ok and now we've kind of got that if we put him together, we've got this so there's a slight problem and here isn't there we've done have any areas of sharpness, so what we can do is we can apply on mosque now and our mosque will work on all the layers now here's the thing you cannot do an individual mask per filter so whatever we so that's a limitation, so when we apply must it's going toe must allow the filters are nets my filter so you know, so we can go in here and we could grab a mosque and grab a brush here and let me have a look here I'm going to increase this and we're using a black brush now typically I can just begin to paint here and pull that out. Usually when I'm doing stuff like that, a lot of time, I'll use a cottage brush because I want to get hard selection. Um, you know, if I was really smart, like the filters, what I would be doing right now is I wouldn't even do this ideation make a selection and just fill it, but I'm too lazy, so we're just gonna paint it out because I know that I've got a different field effect here, it's not working very well see that? So what I have to do that point is make sure that my past city is work, so I'm going to go into my brush and was my brush here under the windows, and we're gonna go about brushes here and is that brushes panel now these will turn them on and off, so transfer is on so that's good, so precious sensitivities working, so I got a little carried away with that is you notice it says two sharp. So what I'm going to do is I'm gonna undo that, and I'm just going to paint the front of this and here first, so let's do this because we know this should be sharp, so you take it to about there now, in the real world, I would like I said, I would masters, I would go in there and really carefully. I just want to show you so it's not gonna be exactly perfect if that's okay with you because I would rather just show you the example, then spend I was getting this age is perfect. So that's essentially what we're doing here. But now what we want to do is we want to fade this because if I paint this, I'm painting away all the filters, see that not good, not the result we want. So at this point here I'm going to grab as soft, and I'm going to soften into this brush now because we don't want that hard edge anymore and I'm gonna gently paint now if you don't have a walk, come tablet, take your pass ity down, take it down to about thirty or somewhere around there, and then you can paint this side out like this and then, you know, you would do it again about halfway so now that's painting sixty percent. Then you get a little bit more in your painting, nineteen percent and notice what it's doing is it's fading that effect back so we can create a more realistic kind of a depth of field. So if we look at what's happening here in the months, you can see that's what we did, I probably could have been a little stronger with that. They're ok? I wasn't pressing hard enough so I could press harder and literally, you know, even you could even make a selection and playa grady in woodworking into that's actually do that a lot as well. So those are the kind of different things you do. So what I'm doing right now as I'm looking at this mosque and I'm literally able to see what that mosque looks like, and I can paint that in a more realistic fashion, and then I just go back to my thing hitting the option key and notice what we're doing is we're painting, they're realistic, different field back in there, so we're essentially showing two filters what I really wanted to do the whole purpose of this exercise really was to show you, you know, we've got these different filters, and we can turn them on and off we can fade them and we can master together, so if we don't like the gals and blair like, maybe that's too much, we can go back now and we can take the capacity we can reduce the capacity of their pleurisy that so we can just change how much of that's affecting it there? And, of course, you can also get back here and launch this filter again and change the amount of the blur after the fact. So that's kind of nice, that we can do that, because when you start stacking them on top of each other, they affect each other. And you can actually literally click and drag these two and change the order like I'm doing. There we go. So there you can see a little bit of a difference there. Attendant, moscow shift key. Turn it back on, so essentially that's, what we can do there. So that's, kind of a fun thing with filters.

Class Description

Colin Smith will show you the easy way to make your images pop in The Magic of Smart Filters.

There is so much more to Smart Filters than non-destructive editing. In The Magic of Smart Filters, Colin will demonstrate the full range of their creative potential. You’ll learn about Smart Filters with blending modes, layers masks and more.


Software Used: Adobe Photoshop CC 2014.2.2

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