Light effects are my favorite type of effect, I don't know why but I always liked to play around in Photoshop trying to recreate them.
So in this tutorial I will show you how to create a super cool text light effect mixing some photos to give more realism.
Open Photoshop and create a new document, after that make sure that the background is in black.
Now let's delete the filament area where we will add the text with the light effect later on. Because the white text is inside the folder with the Color Dodge, the effect will be the same as if the text layer had a black background. Again to add more realism, instead of creating a lens flare in Photoshop we will use a real photo. Once you imported the photo the first thing to do is delete the areas that you won't be necessary and keep just the flare.
Now add another layer on top of all the others and then with the Brush Tool (B) and a big and very soft brush using white for the color, paint another big spot in the center of the light effect. After this we are done and as you could see, most of the light effects are all about blending colors with photos. Fabio Sasso I'm a Brazilian product designer based in Oakland, California currently working for Google as a Staff Designer. Following our series of tutorials inspired by movie posters, today we bring to you a simple image inspired by the new Jim Carrey and Steve Carrell's movie, The Incredible Burt Wonderstone. So for this tutorial we will show you how to create a nice old signage effect using Photoshop and a stock photo. Option 2: This other approach is a little more work, but it gives you more control over the final result. For the remainder of the tutorial I'll be using the pattern generated in option 1 since it's easier to do. Next we'll get rid of the circular pattern in the middle and just leave the light rays that appear to be coming from the center of the image. Now we'll take it to the next level by adding a bright burst of light rays emanating from the center of the image.
First, select the Rectangular Marquee Tool and create a narrow band selection along the entire right side edge of the image. Next we'll create what will eventually be beams of light radiating from the center of the image.
Stretching the image in the last step gave a band on the right that's probably larger than we want. I'm going to narrow mine quite a bit by grabbing the handle in the center of the right side and dragging it right.
The transformation we just did left some pixels in the layer that are beyond the edge of the canvas.
This is looking pretty good, but no light burst effect would be complete without some lens flare. First of all, you are more likely to produce nice bokeh if you use a DSLR camera rather than an automated point-and-shoot camera. Larger aperture works best, so set your camera to aperture priority mode (usually denoted as ‘A’ or ‘Av’ mode on your camera) and use a low f-number. If you don’t have a subject you will be focusing on, you can create the bokeh effect with the lights only. Once you’ve mastered all the technical stuff, you can start using bokeh in your everyday photographic work. PS BTW, there is another alternative for those who wish to add bokeh effect to their photos easily without using a DSLR camera. Flash gels are thin pieces of colored plastic that you can place over your flashgun, studio strobe, or any other artificial light source to modify the color of the light. There are many sellers that sell a kit of various colors in sizes suitable for use with speedlight flashguns, and I would recommend purchasing one of these for most photographers. If you don't want to add velcro to your flash, you can find plastic gel holders that attach to the front of the flash.
If you are planning on using gels with a light that gets quite hot, such as a studio strobe or non-LED continuous lighting, then you should check the gel can handle the temperature. Since flashes allow you to control their power in stops, it is easy to compensate for any loss of light caused by a filter gel. One of the main uses of flash gels is when you are photographing under colored lighting (e.g. If you're shooting under fluorescent lighting, for example, you'd set your camera to use a fluorescent white balance. CTBColor Temperature Blue isn't that useful for color correction with flash, but can be used over a tungsten light to bring it to a similar color temperature to daylight. CTOColor Temperature Orange can be used to make a daylight balanced light (like flash) match tungsten lighting. GreenOften called 'plus green' or 'window green', used to make a daylight balanced flash match fluorescent lighting. If you're wondering how you tell what strength of gel you'll need, well that's a bit trickier. DSC_5352 by BoChengChou on Flickr (licensed CC-BY) - A? CTO gel used to match the flash to the warm color temperature of the late afternoon sun. In some cases matching your artificial lighting to the ambient lighting can make an image weaker rather than stronger. Wilhelmina Volter by Dima Bushkov on Flickr (licensed CC-BY) - white balance set for flash, resulting in background having a slight blue tint and helping the subject stand out.
However, if you you don't gel the flash, then the subject will be lit with slightly warmer light than the rest of the image.
In a similar way, you can add a slight orange gel to your flash when photographing in sunlight to warm up your subject's skin tones a bit.
As well as correcting flash to match ambient light, color gels can be used to purposefully color the light a completely different color.
To have the separate colors show up well, it is best to angle the lights from different (typically opposite) directions. Photographing a subject in a dimly lit area where you want to use a very shallow depth of field (large aperture).

If you need to use a high ISO to capture detail in a background lit by low levels of ambient light (e.g. These are all quite extreme examples though, you would probably need to be using the flash undiffused and quite close to the subject for the minimum power to be too strong.
Gels are very useful for flash photography, whether it's for balancing flash with ambient light to create a natural looking image, or purposefully using colored lighting for creative effect. This was the first approved Willow shot on the show, I have been working on it as Lighting TD and was responsible for the final look of the Whomping Willow and the Willow shader. I have painted textures for the Whomping Willow and for the digital environment (rocks, ferns, leaves). I was working as lighting TD on this full cg shot and was responsible for the look of the Willow.
Luckily its not too busy yet at Weta Digital (this will change quite soon though), so I have some time to process images, work on the website, and so on. Then once I discovered the power of the Blend Modes, especially the Color Dodge, creating this effects became much easier.
Place the image in the center of the document but make sure that the filament area is big engouh. Then with the Brush Tool (B) select a very soft brush (0% hardness0 and black for the color. To do that is pretty easy, with the Eyedropper Tool (I) select the color of the area you will paint, the with the Brush Tool (B) and a very soft brush, start paiting over the filament.
You can see that the edges get sort of blended with the background creating a perfect light effect.
Screen is a very useful Blend Mode because it turns what is black into full trasparency the grey scale becomes a transparency level, so it's perfect to create light effects. The Blend Modes in Photoshop are very powerful for this type of effect and I would recommend you to study more about them, especially the Color Dodge one. I am also the founder of Abduzeedo, an award-winning digital publication about design and a personal project that has become the source of inspiration for millions of designers and enthusiasts.
The poster and the TV spot show a really nice old signage effect, that's the title of the movie.
These can be placed behind artwork, digital photos, used as desktop backgrounds and so forth. All the steps are easy and don't require any special skills other than basic knowledge of the Photoshop tools. If you want the rays to have a more pronounced look, you can sharpen the image at this point. At this point, it helps to expand the size of the window so that it's slightly larger than the image. The wider this area is, the bigger the white area will be in the center of the image when we get done. The easiest way to do this is to hit the d key to set the default colors, then x to switch them so that black is in the background color. You can choose different patterns for the starting image which will change how the main light beams look. This site is run as a hobby and your donation will help defray the costs and allow more tutorials to be added.
Before you begin your purchase, click one of the links to the right first, then place the items you want in your shopping cart. Bokeh is actually those eye catching soft circular patterns of light within the out-of-focus area of a photo. And, vice versa, get as much distance as possible between your foreground subject and the lights in the background (that will make the bokeh effect). I shoot a lot of and I use this effect (in camera) to really make the subject jump out of the page.
Plastic is a lot more long lasting, cheaper, and easier to use, so you're unlikely to find any flash gels still made from actual gelatin today. If the gel causes half a stop of light loss, just increase the flash power by half a stop to compensate.
They don't tear easily, and while they can get scratched or fold marks, these don't affect the lighting. If you leave your gels out in the sun for a very long time you'd probably notice some ill effects, as with anything made of plastic. This adds magenta to the image, which neutralizes the green tint from the fluorescent lighting. By adding a green gel to your flash, the flash will no longer look magenta, but neutral, as the fluorescent white balance setting neutralizes the green color.
This allows you to adjust the amount of color you add to your flash, so you can match it carefully to the ambient lighting. If you're photographing a portrait under cloud or in the shade, technically you would add a light blue to your flash to match the color temperature of the ambient lighting. That way you have items lit with one color from one side and a different color from the other side. For example, if you photograph a subject with a tungsten white balance and use one flash with an orange gel, and another without a gel. Harsh highlights and shadows disappear, and the transition between light and shadow areas becomes more gradual.
Dark red background with a shiny dots decoration and a blurry details with lighting effects.
They may not be copied or reproduced in any form without the express written consent of the individual copyright holders. We have recently moved to a new house and I have taken a few images from our living room to show the beauty if this amazing town. My goal back then was to work for Weta and some day might work on big movies like the LOTR was.
I am filled with very mixed feelings of relief, nostalgia, fulfillment, happiness, sadness, confusion but most of all I am really proud I could be part of this journey. After that with the Brush Tool (B) and a very soft brush with #f5d38b paint a round spot in the center of the light effect.
You can use a different size, but keep it square since we will be doing a rotation later that's easier if the canvas is square.

With a little experimentation, you'll get the hang of how changing your starting image here will effect the final outcome.
We want to really stretch those lines out, so hit cmd-F (control-F on Windows) to reapply the filter a bunch of times. Select the Crop Tool and swipe out the entire area of the canvas (make sure the width and height boxes in the toolbar are clear). Now hit cmd-Delete (control-Delete on Windows) to fill the layer with the background color.
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In this article we'll look at how you can use flash gels for balancing flash with ambient light, creative use of gels for colored lighting effects, how they can be used for reducing the light power, and creating softer lighting. And all in the correct size for a flash, so you don't have to spend time cutting down larger filters. There are plenty of unbranded gels available too, but the kits made from Rosco or Lee filters tend to be very reasonably priced as well as being good quality. You add pieces of velcro either side of the flash head, and pieces of velcro at either end of the flash gel. And regardless, if you buy one of the gel kits designed for speedlights, then you can be sure they are suitable for that purpose. Often the gel manufacturers will publish information on how much light loss the gel causes. With some gels you may find the loss of light is so minimal it's not even worth compensating for.
Flashes are color balanced to daylight, whereas fluorescent lighting has a green tint, and tungsten appears quite orange. But when you add in your daylight balanced flash, the light from this will now look magenta due to the white balance setting. Not all lights will have the exact same intensity of color, some will be stronger than others. The difference in color temperature doesn't tend to be massive, it's not a big jarring difference.
I think part of the strength of this technique is that it is not an overly used effect - you don't see images purposefully lit with two different colors that often.
If both lights were positioned close together, the colors would just mix into a single color. The white balance will make the orange gelled flash will appear neutral and the ungelled flash will appear blue. They spread the light out as it hits the gel, and should be positioned some distance in front of the flash, rather than right against the flash head.
Probably the main use for soft light is in portrait photography, but it can also be very useful for macro and product photography too. So a one stop diffusion gel will very likely give a softer light than a quarter stop diffusion gel. The product will still cost you the same as if you went direct, and the commission helps pay for running this site.
Another tip is if you are using the Brush Tool (B) you can just press Alt to use the Eyedropper Tool. After that add a new folder in the Layers Palette and change the Blend Mode of this folder to Color Dodge.
There are a number of different ways to get started with this effect and I'll show you two. You can choose any values at all for the Variance and Strength parameters which will vary the look of your light burst pattern. Hit cmd-F to reapply the filter again (control-F on Windows) and the center image will shrink further.
The reason we have to do the rotation here is that the Wind filter we used above only works from the sides, while the filter we'll use in the next step requires that things be oriented from top to bottom. In fact, depending on the look you want, you may even wish to stop at this point if you're satisfied with what you have. The flash gel then bends over the head of the flash, attaching at either side with the velcro. See below examples - the diffusion gel used (Lee 216) causes about 1A? stops of light loss, the flash power was not adjusted to compensate for these examples. Also, instead of using black and white when rendering the clouds, you can use any two shades of gray. Keep hitting cmd-F until the circular pattern in the center completely disappears and you're left with just the light burst rays. Either way, we need to work in a new layer, so click the new layer icon to create one above our base layer. Set your chosen color as the background color and hit cmd-Delete (control-Delete on Windows) to fill the selection. The procedure we're doing here seems odd at first, but you'll see what will happen in a few steps. You won't see any change to the image since all you did was delete pixels beyond the edge of the canvas. Rotations and manipulations like this in Photoshop are not uncommon in order to get things set up for a particular filter or transformation you want. The top edge ends up in the center and the bottom edge goes around the base of the cone in a circular pattern.
I'm going to tint my highlight with purple again to blend nicely with the broader light burst rays we created back in Step 5. You should be able to see whether the output of your flash matches the ambient lighting or not.
We can also now see how the size of the band we had at the right side of the image back in Step 10 affects the amount of solid color in the center.

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