How to Turn on Headlights in Photoshop

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This episode is a real turn on! Car lovers rejoice: Learn How to Turn on Headlights in Photoshop! Learn all the tricks to creating realistic light, including lens flares and light streaks made from scratch.

A great way to start is to really analyze and sketch out your ideas for the photo. This can clarify what will need to be done to complete a realistic effect.

For this picture, we plan out where the beam of light will be and in which direction it will shine. We also decide that it makes sense for the light to be brighter closer to the actual headlight, and gradually decrease as it gets farther from the car. We notice that the headlight should be shown shining on the road as well. And for a special touch, a lens flare will complete the look!
Creating the Beam of Light

Select the polygonal lasso tool and create a shape that will encompass the main beam of light. Fill it with white. Now, go to Filter - Blur Gallery - Field Blur. You will see a little dial pop up, which can be adjusted to add less or more blur. You can click on another area and add an additional blur dial. This is very useful because it allows you to make the beam of light blurrier as it gets father from the car! If you need to, you can transform the beam (Cmd + T) to be at a slightly different angle, or stretch it out.

Adding Effects to the Light

To give the high-beam a glow, double click on the layer and check the "Outer Glow" box. You can choose the color for the glow - we chose a yellowish tint here. Feel free to adjust the amount of glow as well as the opacity to get just the look you are going for! Add a layer mask and create a gradient over it to lessen the glow as it gets farther from the car.

Adding Subtle Light Streaks

This is a small adjustment but will go a long way in terms of impact! Using the brush tool, click all over and make random dots and marks on a new layer. Then, go to Filter - Blur - Radial Blur. Select "Zoom" and adjust the amount of blur. It will make the dots look like they are moving at warp speed, which will later turn into light streaks! Place the center of the layer right over the headlight. Change the Blend Mode from Normal to Screen. Then, create a Hue/Saturation layer if you need to change the color of the light. Again, don't be afraid to transform this layer to adjust its angle or size. Go with what looks right (it might take some time to be able to recognize what looks most correct. Keep practicing!).

Adding Light to the Road

This is the same concept we used for the initial beam of light. Create oval shapes on the ground using the elliptical marquee tool, and fill it with the same yellowish color we used for the light streaks. Add a gaussian blur to the layer and duplicate it so that it appears to be coming from each headlight. The color can be tweaked by using a Hue/Saturation adjustment layer.

Special Touches: Lens Flares & Gradients

Now the real fun begins! Create a stamp visible layer (Shift +Opt + Cmd + E). Go to Filter - Render - Lens Flare. You are able to choose the size and position of the flare. However, it is very limiting to place the lens flare directly onto the stamp visible layer. To get past this problem, place the lens flare on a black layer and change the Blend Mode to Screen.

Gradients are simple but quite impactful. Click on the Gradient Tool and create a gradient that goes from black to a bright yellowish orange color. Then change the Blend Mode to Soft Light. The black part of the gradient serves as a sort of vignette, and the bright part of the gradient will reflect what is happening with the bright headlights.

As you can tell, there are many little details in this technique that work together to create a realistic final look. If you take the time with each step, there will be no question that your headlights are truly turned on!



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How to Select and Change Colors in Photoshop

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Selecting Color Range

To select out the different colors, create a new layer and go to Select - Color Range. Click on the color you want to sample with the regular eyedropper tool. You can play with the fuzziness to get more of an accurate selection. Also, if you need to add or take away from your selection, you can use the eyedroppers with the plus and minus symbols next to them to do so.

Next, go to Layer - New Adjustment Layer - Hue/Saturation. This will load your selection directly into the Hue/Saturation layer so that you can adjust the hue sliders and change only the colors you want to change!

Refining Layer Masks

If you have small unwanted parts in a selection, you can always paint over it with a brush tool on the layer mask.

Tip: If you hold alt/opt and click on a layer mask, it will appear as black and white. This can be very helpful for seeing tiny stray colors in your selections.

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How to Create an Album Cover in Photoshop

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How to Make an Album Cover in Photoshop

For this specific look, you will need three elements:

-Side view portrait
-Painted background
-Hat (If not already on the subject)

Use various selection tools to select and position your images where you would like them to go. Keep in mind that album covers are generally in a 1:1 ratio (a square). We suggest unchecking “delete cropped pixels” so you can recover your image if you need to.

When your portrait is ready, it’s time to make it into a sort of silhouette! Turn it into a layer mask by holding Crtl/Cmd and clicking on your subject to select it, and then clicking the layer mask button.

From here on out, this technique is mostly just playing with blending modes. We inverted the blue color so that it appears bright orangeish red, so that’s something you might want to experiment with. For this specific image, we utilized the subtract blending mode. We also played around with the size and position of the painted background layers to get different effects. Don’t forget that you can unlink your layer masks for more control!

Quick Tip: To flip through the blending modes, hold Shift and press the plus or minus keys (make sure you are on the move tool first)

Feel free to play around with text as well. You can make adjustments in the character panel for things like tracking, caps, font, and size. We use Helvetica Neue for this episode. If you’d like to add a drop shadow, double click on the text layer and go down to drop shadow. After tweaking it to your liking, you can actually drag that drop shadow onto other layers while holding Alt/Opt and it will copy it over for you!
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How to Create and Replace a Custom Background in Photoshop

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Magic Wand

First, the subject needs to be cut out from the background. A great tool for this is the Magic Wand tool! Start selecting, and hold Shift to add to that selection when needed. A helpful aspect of this tool is that you can change the tolerance; if you’re selecting too much, lower the tolerance.

The hair is a little trickier than the rest of the body, and we must refine the edge of the selection. Go to Select - Refine Edge. Choose the best view to help you out; in this case, we use the overlay view. Click on the refine edge tool, and paint over the edges of the hair. Doing this will momentarily “erase” the mask from those edges, but will then select only what is similar to the remaining mask. In other words, it should perfectly select out only the hair.

We are going to use this selection to create a layer mask, and we want that mask to apply to all of our future layers. So, put the layer into a group, and put the layer mask onto that group rather than the layer itself. Now, any layers you add to the group will have the same mask applied to them, and you won’t have to worry about creating a new mask of your subject over and over.
Step and Repeat

To see how this process works, start by creating any shape and filling it with black. Next, turn it into a selection (hold Cmd and click on the layer).

Step: Opt + Cmd + T to select the pattern. Move it to where you’d like and click enter.

Repeat: Hold Shift + Opt + Cmd + T. This will repeat the duplication that you just completed.

Custom Patterns

Dark patterns on a light background are best for making custom patterns. Go to Edit - Define Pattern. Name it and click OK. Nothing will happen until you go back to the image of your subject and apply it there. Create a new fill layer and select Use: pattern. Select your new pattern in the custom pattern drop down. You can choose different options in the scripted pattern section as well.

Helpful hints:

Photographing your subject on a solid colored background is key for this!
To turn any layer into a selection, just hold Ctrl/Cmd and click on the thumbnail of the layer.
Multiply is a great blend mode if you want your pattern to show up but include shadows as well.
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How to Make a Polaroid Framed Picture in Photoshop

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Polaroid film is becoming harder and harder to come by (*tear*), but what if you still want that retro look? In today's episode, we show you how to make a polaroid framed picture in Photoshop!

To achieve this fun and retro effect, you will need two things: a picture of your subjects, and a picture of an actual Polaroid.

Move one photo onto the other by simply using the move tool! Click and drag while holding the shift key. Next, select the center square of the Polaroid. In this case, we use the magic wand tool, but you can use any selection tool of your choice. Next click the layer mask button, and your subjects will only show up in the middle of the polaroid.

Give your image an aged and stylized effect by using a hue/saturation layer. Choose a hue that you like (we chose a sepia color) and make sure that the colorize button is checked. Clip it to the underlying layer, and feel free to lower the opacity if the effect looks too strong.

Another step we take is to further the believability of the edges. Put a gaussian blur around the edges to blend the two images in together.
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How to Create Snow in Photoshop

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Follow this link to our website, where you can download our Phlearn Snow Brush:
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Let it Snow
Have you ever wondered if it is possible to create snow from scratch? In today’s episode, we show you that all you need is a custom brush and some blurs to create your own winter wonderland.

Custom Brush
Creating a brush from scratch is simpler than you might think!
Create a new document (500 x 500 pixels is great) and then create two round shapes apart from each other with the Elliptical Marquee tool.
Click Shift + Delete on a new layer to fill them with black. These will end up being our snowflakes later on. Make sure to select Edit — Define Brush Preset to turn your dots into a brush.

We can then go back into the image document and select the brush tool. Right click to bring up all of the brushes and select the one we just made! Next, go to Window — Brush. This will bring up all of the brush settings we need to make our dots look like actual snow. Here, we adjust elements such as the size, angle, and roundness jitter to create a more random look. We also increase the scattering and opacity jitter.

Piles of Snow
A huge part of making our image look realistic is using multiple layers of snow (literally!). We can use our first layer to create the snow farthest in the distance. These snowflakes will be smaller and should be created with a smaller sized brush.
The next layer will consist of snow that is closer to the camera. This means that it can be painted onto the ground and the subject.
The next layer will have larger snowflakes, and so on and so forth. 5 layers is a good number, but every image is different and this may vary.

Blurry Blizzard
Without a blur, our round flakes look quite Photoshopped. By going to Filter — Blur — Gaussian Blur, we can select whichever amount of blur looks best for the image. This technique looks great and can be used on all of the layers of snow.

To create the illusion that the snow is actually falling, we can also add a motion blur to the snow closest to the foreground. Filter — Blur — Motion Blur will bring up the Motion Blur dialogue. Here, we can choose the angle and the distance of blur.

Final Touches
What is the best part about Photoshopping snow rather than shooting in it? You can erase and move as you please! Don’t be afraid to duplicate the layers and move them around to adjust the position of the snow. We can also press E for the eraser tool to eliminate distracting flakes.

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How to Turn Any Image Into an Illustration in Photoshop

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Photoshop is an amazing tool that can help you with more than just retouching photographs; it can be used to create illustrations as well! In today's episode, we show you how to turn a photo into what looks like a hand-drawn illustration.

Creating a custom brush

The goal for this episode is to create a drawing that looks like chalk on a chalkboard. The first and essential step in this process is to create a custom "chalk brush." We do this by going into the brush window and altering the characteristics of the brush. We increase the size, flow, opacity and angle jitter, as well as change the tip shape and lessen the spacing. There are many little details in this brush that help create a chalky effect.

Using Levels and Channels to create a selection

There are many ways to create a selection, and for this particular image we use the lights and darks in our image to do so. We bring our dark and white points up with Levels to create a graphic version of the image. A selection is then created from a copy of a Channel layer. This only selects the light parts and not the darks, so we want to inverse the selection. We are left with a lovely selection of the darks from our image.

Turning the selection into a Pen Path

Did you know you can turn any selection into a Pen Path?

All we have to do is click on the paths tab, and then click on the "Make Work Path from Selection" button. This simulates what would happen if we were to actually take a pen and follow the lines of the selection. After our path is created, we can stroke the path with our custom brush! This step is what really turns what was once a regular image into a chalk drawing.

We can always go back into the drawing with our chalk brush to add some finishing touches.

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How to Clean Backgrounds in Photoshop

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The white background has become a standard in the photography world and for good reasons. You can pick up a white seamless background for less than $100, turning any space into a photo studio.

Backdrop paper is also ideal for cutting people out of their backgrounds or eliminating distractions. Many popular celebrity portraits were photographed in hotel rooms using a roll of white seamless paper.

Because your subjects will be standing on a giant sheet of white paper, chances are the paper is going to get dirty. In today's episode we show you how to clean a backdrop in Photoshop.

Clean Backdrop using Median Filter

The fastest way to clean a background in Photoshop is by using Photoshop's Filters. We found that the Median filter works very well and saves a ton of time. Go to Filter - Noise - Median and choose a radius that will make all the dirt vanish. Be sure to do this on a copy of your background layer so you can use a layer mask and just have this effect show up over the background.

If you have any areas that the Median Filter missed, take care of them with the healing brush tool and you are good to go!

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PHAN WEEK: How to Composite Photos in Photoshop

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Composite Photos in Photoshop

There are many reasons why you may want to composite photos together in Photoshop. At times you may want to replace someones face because they had their eyes closed in a group photo. Other times you may want to create a fantasy image or something that couldn't exist in real life.

In today's episode we show you how to add fish to an image of a girl in a bathtub. The compositing process is simple as long as you keep in mind how color, light and depth work. We show you how to make it look as though the fish are actually suspended in the murky water.

Add Bubbles and Details Above the Fish

To make it look as though the fish are really under water we add detail on the top of the water and over the fish. The perfect pieces of detail for this image are the bubbles that already exist in the photo. Using the Clone Stamp Tool we copy areas that contain bubbles, change the blending mode to Screen and then adjust Levels and Hue/Saturation to make it look as though they are transparent.

After creating the bubbles we add them over top of the fish to make it look as though the fish are underwater.

How to Add Depth to Underwater Fish

The water in the original photo is a bit soapy and murky, meaning we can't see all the way though it. It makes sense that anything in the water will be slightly obscured by the water. We also want to make it look as though the fish go out of focus as they get farther from the camera. To achieve these effects we use a Field Blur and apply a different amount of blur to different areas of the fish.

After adding the blur to the fish we use a Hue/Saturation Adjustment Layer and the Colorize function to make it look as though the color of the water is effecting the color of the fish.

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How to Remove Anything from a Photo in Photoshop

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The Importance of Removing Objects
We have all taken photos that were close to perfect except for some object in the background. If given the chance it is always better to remove that object in person, it will take much less time than doing it in Photoshop and will look more natural. Sometimes however that is not an option; either you didn't see it or were not able to move it.

That is where Photoshop comes in! In this episode we show you how to remove objects from your photos to make your subject stand out more.

Selections Are the Key to Removing Objects
Often times the objects you want to remove are behind other objects. In this episode we remove a trashcan and a street sign, both of which are behind a lamp post and a stone seat. In order to remove the objects from the background we have to make a selection that keeps the lamp post and stone seat from being affected.

To make this selection we use the Pen Tool. It is one of the more complicated tools to use in Photoshop but it is well worth learning because of how powerful it is.

If you want to learn more about compositing and using the Pen Tool be sure to check out our

Your Friend, the Clone Stamp Tool
After your selection is made it is time to use any tools available to build the background. If you are lucky there will be plenty of area to sample from that looks like the area you need to cover.

Start out using the Clone Stamp Tool, it will duplicate a sampled area and can do most of the job for you providing you have an area to sample.

Sometimes you will have to remove and object and that means creating something "behind" that object from scratch. This is where the brush tool comes in.

When All Else Fails, Use the Brush Tool
The brush tool is incredibly powerful and shouldn't be overlooked when creating a new background. it may not have as much detail as the Clone Stamp Tool but you are not limited to sampling areas.

With the brush tool you can "paint" anything you can think of, including the background over top of an object you want to remove. This may sound really hard but using color samples from the surrounding image and a little creativity you would be amazed at what you can do.

In this example we completely remove a trash can from the image and paint the building and the sidewalk in behind it.

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How to Make Colors Come to Life in Photoshop

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How To Make Fake Blood In Photoshop - A Phlearn Video Tutorial

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In this tutorial, Aaron Nace covers how to create blood from scratch using Photoshop. This is a special episode for Halloween week.

We decided to make a place for the blood to come out of the model, so some bite holes seemed appropriate. To make the holes in her neck we need to use some custom brush settings and layer FX. This helps give the holes a bit of depth and texture.

When it comes to the blood, using a reference image, we make a shape using the lasso tool, and then refine the edge to make it a bit more smooth. Then we paint in the selection to make the blood look layered.

To make the effects match the resolution and focus of the final image, we need to give it a bit of blur. From here you are free to move your effect around the image, and choose a place that will best suit the effect. To make the blood look as though it is flowing on the neck of the subject, we use the smudge tool. .

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