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In this one of-a-kind workshop Tim shares his favorite techniques for using Adobe Photoshop's effects and filters to create imaginative, out-of-the-ordinary images. He starts with simple things like black-and-white interpretations, monochromatic tints, vignettes, and film grain, then moves on to more dramatic effects like Surface Blur, Tilt-Shift Blur, Oil Paint. From there, head into "wilder territory," as Tim explores some experimental ways to stylize and distort your images.
And tilt shift lenses have been around for quite a while used primarily for architectural photography. But recently, they've started to get increasing use for an interesting creative effect, that sort of produces a miniaturization of the scene that you photograph. Generally speaking, this effect works best when you have a relatively large overview scene to work with. This is a good example here. We've got a beach scene viewed from above with a pier going off in the distance. And so, with this image, I'll create a Tilt Shift Blur effect that really makes this scene seem like a miniature model rather than a real-life scene.
I'll go ahead and create a copy of the Background Image layer first, by dragging that layer down to the Create New Layer button at the bottom of the Layers panel. And then I'll go to the Filter menu an choose Blur, followed by Tilt Shift. That will bring up the Tilt Shift Blur controls on the Blur tools panel over on the right hand side, and you'll see that we also have controls overlaid on the image itself. I can re-position the blur as needed by dragging that bulls-eye in the center of the blur, and I want the effect to be centered on the area of greatest interest within the photo.
I can also rotate that angle. So, here, for example, the shoreline comes across at a little bit of an angle. If I'd like to rotate that angle, I can click on either of the dots, above and below that central bulls eye, and then just drag left to right, in order to rotate the effect. I can also adjust the overall size of the area that will appear in focus. So, I can drag the horizontal solid bars up or down as I desire, in order to decide which area will remain in focus. And then I can also adjust the degree of transition in between the area that remains in focus and the rest of the image, that is controlled by the dashed lines.
And I can drag those independent of each other up or down as needed within the image. And of course, I can also adjust the degree of rotation. That can be controlled on the circle that surrounds the bullseye. The more white you see on that circle, the greater the blur effect, and you can simply click and drag on that circle in order to determine the strength of the blur. I'll go ahead and apply a moderately strong blur, something like that perhaps. I can also adjust the distortion, if I want a little bit of distortion in those blurred areas. Either positive positive or negative depending on the direction that I want it to go, and I can also specify that I want that distortion to be symmetrical within the image.
If you have especially bright areas within the photo you can also control the boca effect, but in this case I don't really have those sorts of areas in the image. That's not going to have a significant impact. You can press the letter H on the keyboard at any time to hide the controls from the image, and as you can see especially here hiding those controls from view. We really do have a bit of a miniaturization effect. The people on the beach no longer seem to be real people but rather look like small little models in a diorama. I'll go ahead and release the letter H on the keyboard.
I can continue fine tuning the effect as I'd like, adjusting the degree of blur, the area that will remain in focus or the transition of that blur effect within the image. I'll also generally turn off the high quality option on the Options bar. And note that we do have an option to save this mask to channels, so if I wanted to create an adjustment that only affects the area that's in focus, I can save that mask as a channel. It essentially then, becomes a save selection, so that I can load that selection and use it as the basis of a targeted adjustment. But in this case, I don't really feel the need to save that mask, so I'll leave that check box turned off and I'll click OK in order to finalize the effect in the image.
The process will take just a moment here and then you see, we have that final Miniaturization Effect, thanks to the new Tilt Blur Filter in Photoshop.
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