Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Moonlight reflecting off water

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Moonlight reflecting off water

If you know a thing or two about Photoshop, you might question the wisdom of using a displacement map in order to create a wave, in order to wave a flag here. Because after all, Photoshop ships with a perfectly serviceable Wave Filter. If you go up to the Filter menu and choose the Distort command and then choose Wave, you will open up this Wave factory essentially, and you can go nuts with like just sending all kinds of wave patterns like a 183 independent wave patterns through an image if you want to. If you just want your traditional, sort of rolling wave, then you want to knock that Number of Generators value down to 1.

Moonlight reflecting off water

If you know a thing or two about Photoshop, you might question the wisdom of using a displacement map in order to create a wave, in order to wave a flag here. Because after all, Photoshop ships with a perfectly serviceable Wave Filter. If you go up to the Filter menu and choose the Distort command and then choose Wave, you will open up this Wave factory essentially, and you can go nuts with like just sending all kinds of wave patterns like a 183 independent wave patterns through an image if you want to. If you just want your traditional, sort of rolling wave, then you want to knock that Number of Generators value down to 1.

You also have control by the way over whether it's a rolling wave or a zigzag wave which we would get with triangle. Anyway, I am going to leave it set to Sine, so that we have a sine wave. Like in mathematics, remember your sine wave and your cosine waves and all that just, maybe not but it's a rolling wave in any case. I am going to go ahead and link then the Maximum Wavelength value, and I could increase the minimum value as well if I wanted less random variation inside of my wave pattern. I can also control the Scale. I could say, I don't want to have any horizontal waving going on, so I will take that value down as low as it goes anyway to 1%, so that we are focusing on the vertical wave.

Here is the thing to bear in mind about the Wave filter though, it is a random function. So you are randomly varying the wave inside of these minimum and maximum parameters that you set up. And if you want to tryout a different random wave pattern, you click on the Randomize button, and each time you are going to get something different; sometimes something big, sometimes something very small and so on. You may come up with something after click Randomize a handful of times; you may come up with something that you like better than what we achieved using the Displacement Map, which is fine. But the Displacement Map is a more careful solution, it's more deliberate solution. You are specifically designing a Displacement Map that you want to use and then of course you are changing the scale values with the Displace filter. So you have ultimate control over the process, and you can do much more than wave an image as well as we will see.

All right, I am going to go ahead and click OK. Notice that we have got these Undefined Areas options once again; we can either Wrap the flag Around, or Repeat the Edge Pixels. I am just going to Repeat the Edge Pixels. We could avoid these weird little pixel stretch marks that are going on here, you can see it in the upper left-hand corner of the flag, you can avoid that of course by expanding the canvas size just like we saw in the previous couple of exercises. All right, this time around, we are going to get away from waving and we are going to use a Displacement Map to create a water reflection, the water distortion, and we are going to do that using these two images. First we have got Moon.jpg here. We are going to take the moon and we are going to reflect it into this image, Fake Water.psd and both of these images are found inside the 18_displace_maps folder.

We are actually going to use this Fake Water pattern here in order to distort the moon, the moon reflection as you will see. So make sure that you have both of those images open. Go back to the moon, and we are going to start in this exercise, we are going to expand the canvas and we are going to reflect the moon into the water without any distortion and then in the next exercise, we will apply the distortion in the form of a Displacement Map. All right, so here it goes. Inside of this image, I want you to bring up the Layers palette, and we are going to press Ctrl+Alt+J or Command+Option+J on the Mac in order to copy the moon to the new layer. And I am going to call this layer Reflection, and then I am going to click OK to accept that new layer. Now we are going to create a new layer, and I want to create it below the Reflection layer.

So we will go ahead and Ctrl+Alt+Click remember that trick, or Command+Option+Click on the little Page icon in order to create a new layer that we are going to name underneath the Reflection layer, so we will call this one water, and then click OK. Right now it's empty, so we will go up to the Image menu, choose Apply Image and I will go ahead and grab the Fake Water image, they are both the same size, both of these images have the same pixel dimensions. And we will go ahead and set the blend mode to Normal, and we are right, ready to go. That's all it's going to take. Go ahead and click OK.

So we have the water sandwiched between two moons, at this point. Now let's go ahead and expand the canvas size. I am going to zoom out a little bit here. I am going to hit Ctrl+Alt+C or Command+Option+C on the Mac to invoke the Canvas Size command. And I am going to set the chicklet at one of these top three squares of this little tic tac toe board right there. Turn On the Relative check box, increase the height to a 100 but not pixels, we want it to be a 100%, so the image is going to grow by a 100%. It's going to be a 100% taller, so it will be of course 200% of its current height, and I will click OK to expand that Canvas.

All right, now let's grab that Water layer, it should still be selected. And I want you to Ctrl+Drag the Water layer all the way down to the bottom of the image so that it snaps into place with any luck. Now I found that this particular version of Photoshop that I am working in is a little buggy where snapping to the bottom of the document window is concerned. So I have got to zoom into a 100%, so tedious, and make sure that I don't see any sliver of white down there. I just drag it into place. I also press the Shift key by the way, so that we are constraining the angle of the drag to exactly a vertical.

All right, now I am going to zoom back out to the 25% zoom ratio, so I can see what the heck I am doing. Now let's grab the Reflection layer right here, and I am going to press Ctrl+T or Command+T on the Mac to enter the Free Transform mode. I am going to grab this transformation origin dude right there, this little target. And drag it down to the bottom so it snaps into place. It really does snap into place, at the bottom handle, the handle along the bottom of the image. Then I am going to right click and I am going to choose Flip Vertical, and that's going to exactly flip the moon into the proper location. Isn't that a beautiful thing, then I will press the Enter key or the Return key on the Mac in order to accept that flip. And it looks like we have got a little seam there. That's just a function of the 25% zoom ratio. If you zoom in, you should see no seam at all. You should see just continuous moon action as we have here.

All right, so that's a good thing. Let's zoom back out so that we can take everything in. You will just have to excuse that line that's not really there. That kind of stuff happens when you are working with layers at reduced zoom ratios. And let's go ahead and change the blend mode to Soft Light by pressing Shift+Alt+S or Shift+Option+S on the Mac. Then one more thing that I want to do. I am going to go ahead and zoom in here once again to about 50%. I don't like the fact that the water just all of a sudden starts. I want to create more of a soft transition. So I am going to switch to the Water layer here, and I am going to go ahead and add a layer mask, and I will go down to the bottom of the palette, and click on the Add layer mask icon.

Now I am going to go ahead and grab my Gradient tool right there. Make sure that I have got the Foreground and Background Gradient selected which I do. Make sure that my foreground color is Black, and my Background color is White. And then I will go ahead and drag from right about the horizon line for the water of course down a little bit. Not too far, just a little bit down, so that we are just softening that transition ever so slightly. Now I have revealed an area of white in my background. I didn't really mean to do that. So let's go down to the Background layer right here. Problem is that there is white below the moon, what I want to be doing is exposing black of course.

So I am going to go grab my Magic Wand tool from the toolbox, you may have to select it from the Fly-out menu there. Set your Tolerance value to 0, Anti-alias off, Contiguous should be On actually, Sample All Layers should definitely be off. And then just click in this region right there, and that will select of the white area, all those pixels that are totally white and press Alt+Backspace or Option+Delete to fill that selection with Black. Nice, all right so pretty easy right there, if you feel like you over-softened the sea which is possibly the case, actually let's go ahead and keep that for a second. I will press Ctrl+Z or Command +Z on the Mac to keep that selection outline, so I can see exactly where the horizon is, and I will grab my Gradient tool. I will go back to the Water layer and I will drag again, just a slight drag, maybe something a little smaller, actually even slighter than that, something really tiny like this, works out pretty nicely.

All right good. Now we are ready to go, people. We don't have a distortion of course. We do have a reflected moon. It is properly reflected because it did a Flip Vertical. But we need some distortion action. The moon wouldn't just be sitting there like flat on the waves, in the fashion that we are seeing in here. So we are going to use the original fake water image, this guy right here were going to employ it as a Displacement Map and ripple that moon a little bit, so that it matches the water in the very next exercise.

Show transcript

This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26381 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS3 Channels & Masks: Advanced Techniques.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.