Create an Angel on Fire in Photoshop | Andrei Oprinca | Skillshare

Create an Angel on Fire in Photoshop

Andrei Oprinca, Graphic designer

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4 Lessons (1h 26m)
    • 1. Devil's Bride demo

      6:30
    • 2. Devil Bride Part 1

      33:24
    • 3. Devil Bride Part 2

      33:51
    • 4. Devil Bride Part 3

      12:06

About This Class

Creating fire effects is not always an easy job, even with good stock images, fire effects in Photoshop look fake sometimes but I will show you how to create nice looking fire effects. I’ll also show you how you can use Calculations and Channels to make more complex selections in Photoshop.
This is an intermediate-hard difficulty manipulation tutorial so it’s not for complete beginners. Take a look at the preview video.

The tutorial is made with Photoshop CC. You can use any version of Photoshop but the final result may not have the same color tones.

Transcripts

1. Devil's Bride demo: here. What's up? I hope you're doing well. This is Andre from PST box. Welcome to another photo shop tutorial. In this video. I want to show you a few things. The 1st 1 how to create this fire effects using stock images and bland modes. And I want to show you how I get this all these particles and this fire here, which is I think it looks cool and also how to create more advanced selections because we need to change the the original sky of this background image. And you can see we have a lot of detail here, which is not really easy to to mask sometimes. And I want to show how you can do that with the more advanced technique. And while, of course, how to amuse other adjustment leaders to get this in sort of dark and high contrast effect on on an image. So let's take a quick look at the layers palette reduced is I'm just a bit so this is my layers palette. There are three main images here. The Bagram, which is this one here. This later here. We also have the model and then another sky and of course, we have details like the fire, the wings and some feathers here, which we will add later on. But these are the main images used. I named this artwork Devils Bride. I was inspired by a song off Lord he called the Dead Eyed Girls Gone Wild. I just go to Spotify for a second and played for you just for for a second, so you can hear it so that that was a song that inspired inspired me to give the name to this artwork. But anyway, let's let's let's get going without a tutorial here. The first thing I'll do is press control over to open this window, and I want to open from the stop folder open this background image, which we would use, and what I want to do is change this background. I want something a bit more dramatic because I already knew when I started with this, the kind off the fact that I wanted to get. But you can see it is not really easy to remove the Bagram from this image because we have a lot of details here, which is not easy to to follow with the mantle. For example, So what I did is I used channels and calculations and also you have to do that. If you find this technique, it's too difficult for you. You can try the from the Selectmen. You can try to color, range technique or maybe try using the magic wand or the quick selection techniques. But I want to tell you how I did it. So I went to channels and you can see it. We're working in RGB mode, so we have the three channels red, green and blue. And the objective here is to select one of the channels that give us the most contrast between the sky, which is what we want to remove. And this background here, this plants and the sky. So I went through all of them and you can see the red is not going to do too much for us. Neither does the green, but the blue. You can see that it makes the whole thing here black and skies white. So you can see the difference between this and this. And that's exactly what we want. We want tohave this part black and this one white or the upset. It doesn't really matter as long as we have them separated from each other. So I decided I will use the Blue Channel. And then I went to image and choose calculations. I'm using photo shops here six, but this should be available in previous versions of Photo Shop. I don't know if for CFCs to hazard, but I think for shops, years three and four habit and four shop CS five also have it. So I'll select calculations and you will see this new window opens. And what calculations does is mixes the channels using a blend mode. And so it's you getting on the channels. We don't have blend modes, but this is what you can do with the calculations. You can change the blend mode between channels, and you can see we have source want and source, too. So what we do is to let the channel and makes them using a blend mode. And that's what what we're going to do. And on source, one will choose the Blue Channel, and on Channel two, let's try read, for example, green or blue, you can see nothing happens because the blinding is set to normal, so they're not interacting with each other. And of course, source. One is the same document that have opened you have. If you have multiple layers, you will see from the layers you will have a lot of least with all the letters that you have on your document. Right now, we only have the background. So what I will do is change the blend mode and see what happens. I'll change it to multiply, and you can see that what Photoshopped does is takes the Blue Channel and mix it with the Green Channel using the multiply. But no, that's why the image becomes darker. And if I change the Channel two Blue, you can see that it does a bit of a better job. It's multiplying blue with blue, and that's why the image it got guts darker, and you can see that we're starting to get the silhouette of this plans, which is what we need. But we can do better. Let's try it on a bland mode, for example, I strike over late and you can see that it does even a better job. Still, the sky becomes brighter and the plants are still dark, and you can see that you also have this two options here, let's say invert, which allows you to invert the channel that you're that you're at so you can. You can get the plans to be white in the sky to be dark. The settings that you need to choose here are almost trial and error. I could say it depends on how much you know about blend modes. And how about channels? Usually the channels. The rather is the brightest one, and the blue is the darkest one, the one where you have more more contrast. But it's you can just try combining this once you can see if I choose red and blue and leave. 2. Devil Bride Part 1: here. What's up? I hope you're doing well. This is Andre from PST box. Welcome to another photo shop tutorial. In this video. I want to show you a few things. The 1st 1 how to create this fire effects using stock images and bland modes. And I want to show you how I get this all these particles and this fire here, which is I think it looks cool and also how to create more advanced selections because we need to change the the original sky of this background image. And you can see we have a lot of detail here, which is not really easy to to mask sometimes. And I want to show how you can do that with the more advanced technique. And while, of course, how to amuse other adjustment leaders to get this in sort of dark and high contrast effect on on an image. So let's take a quick look at the layers palette reduced is I'm just a bit so this is my layers palette. There are three main images here. The Bagram, which is this one here. This later here. We also have the model and then another sky and of course, we have details like the fire, the wings and some feathers here, which we will add later on. But these are the main images used. I named this artwork Devils Bride. I was inspired by a song off Lord he called the Dead Eyed Girls Gone Wild. I just go to Spotify for a second and played for you just for for a second, so you can hear it so that that was a song that inspired inspired me to give the name to this artwork. But anyway, let's let's let's get going without a tutorial here. The first thing I'll do is press control over to open this window, and I want to open from the stop folder open this background image, which we would use, and what I want to do is change this background. I want something a bit more dramatic because I already knew when I started with this, the kind off the fact that I wanted to get. But you can see it is not really easy to remove the Bagram from this image because we have a lot of details here, which is not easy to to follow with the mantle. For example, So what I did is I used channels and calculations and also you have to do that. If you find this technique, it's too difficult for you. You can try the from the Selectmen. You can try to color, range technique or maybe try using the magic wand or the quick selection techniques. But I want to tell you how I did it. So I went to channels and you can see it. We're working in RGB mode, so we have the three channels red, green and blue. And the objective here is to select one of the channels that give us the most contrast between the sky, which is what we want to remove. And this background here, this plants and the sky. So I went through all of them and you can see the red is not going to do too much for us. Neither does the green, but the blue. You can see that it makes the whole thing here black and skies white. So you can see the difference between this and this. And that's exactly what we want. We want tohave this part black and this one white or the upset. It doesn't really matter as long as we have them separated from each other. So I decided I will use the Blue Channel. And then I went to image and choose calculations. I'm using photo shops here six, but this should be available in previous versions of Photo Shop. I don't know if for CFCs to hazard, but I think for shops, years three and four have it and four shop CS five also have it. So I'll select calculations and you will see this new window opens. And what calculations does is mixes the channels using a blend mode. And so it's you getting on the channels. We don't have blend modes, but this is what you can do with the calculations. You can change the blend mode between channels, and you can see we have source want and source, too. So what we do is let the channel and makes them using a blend mode. And that's what what we're going to do. And on source, one will choose the Blue Channel, and on Channel two, let's try read, for example, green or blue, you can see nothing happens because the blinding is set to normal, so they're not interacting with each other. And of course, source. One is the same document that have opened you have. If you have multiple layers, you will see from the layers you will have a lot of least with all the letters that you have on your document. Right now, we only have the background. So what I will do is change the blend mode and see what happens. I'll change it to multiply, and you can see that what Photoshopped does is takes the Blue Channel and mix it with the Green Channel using the multiply. But no, that's why the image becomes darker. And if I change the Channel two Blue, you can see that it does a bit of a better job. It's multiplying blue with blue, and that's why the image it got guts darker, and you can see that we're starting to get the silhouette of this plans, which is what we need. But we can do better. Let's try it on a bland mode, for example, I strike over late and you can see that it does even a better job. Still, the sky becomes brighter and the plants are still dark, and you can see that you also have this two options here, let's say invert, which allows you to invert the channel that you're that you're at so you can. You can get the plans to be white in the sky to be dark. The settings that you need to choose here are almost trial and error. I could say it depends on how much you know about blend modes. And how about channels? Usually the channels. The rather is the brightest one, and the blue is the darkest one, the one where you have more more contrast. But it's you can just try combining this once you can see if I choose red and blue and lived language overly get a different kind of contrast. So just trying dis combinations. Let's leave this on blue. And for this particular image, I chills the blend mode. Subtract and you can see the image becomes black. But if it changed its to invert, you can see that now the image looks a whole lot different. Have the sky totally black. So there's no there's no details here, and we have the plans more or less white, which is what I wanted. So the subtract and add bland modes are are really useful. Just try them and also try all the combinations between blend modes and invert. And this this blind moles here, I'll leave this house, attract and invert the blue Channel. You can also try this mask option which allows you to mask it allows you to use the channel as a mask. So this is a bit more advanced. So, for example, you could use the Red Channel as a mask and also inverted, and you can see the kind of effect to get. So I just try different, different different options here. If you have a little mask already on the on the documented will probably show up here. I don't know. So all the activate the mask for this and I'm almost done. The only the only thing I need to do now is choose the result. I just want to create a new channel here on top. I don't want to create a new document, so I want to have a new channel because we're not done with this. I also don't want to create the selection, so select new channel and click OK, and you can see that now we have a new channel that we just created, so we will use this as a mask, but we need to fix it. We can't use it as it is. We need to make the whole thing here, white and leave this guy black and ready to do that. What what I will do is select brush tool and change the bland over the brush itself to overly. And the reason why I did that is because now I will paint with white, and the overlay mode is kind of a safety. Because if I paint here on the black part, nothing happens because the overly mold interacts with the black and it kind of eliminated . So say's. It's just like the screen blend mode. If you paint with black on the layer that set on screen, you will not see anything. That's why I used the screen blend mode on flares and things like that that have black background. And that way I delete the back the black background, and in this case I will use overly and Peyton with white and just you can see that everything that is brighter than 50% great will become will become white and where it is to save time. I will select the whole part here and just feel it with white and take care of the details here by painting. And the overlay mode is only useful here on the tops. Because I could paid. I could paint on the normal bland mode right here. So what I will do is make sure I have the tops really white like that. Let's do the same here. You can see there is a bit of ah, from the background is showing. Here, somebody can do is swap the color to the black color and paint, and you can see you're doing the opposite and then change back toe white. Andi, keep painting. You can see that some era still remain here, but we'll fix that using the normal bland mud. So I'm done with the overly bland multi cancer. Even if I paying here, nothing happened. So in order to cover them, I will change the mode to normal. But I need to make sure that this spaces here are not are actually not the backgrounds. What I will do is change to the green mode and just see eso from here up. It starts to show. These are this is the background. But this part here is just a part from the planet is just highlight. So what I'll do is select again the brush tool change Obama to normal and pink with white. I just called her this parts here. Remember that we will use the We will use this as a later mosque. So we want everything to be white. Otherwise we will not mask everything. So I want to see what this parts here are sold. Switch back to the composite and take a look. So there's no sky. Here is just a few bits off the skies showing. So I'm sure that these are just parts from the plant. So I can safely paint with black with white sari. That's Victor Spark here as well. Okay, so now we're we're done in order to make sure that you have no midterms on the image. But you can do is with this new awfully or selected press control or command. L and you will open the levels and you will see that there's no may tell in just a few few points here, but we mainly have highlights and shadows here, which is good. That's what what we want. And if you want to make sure you can dark and a bit timid tones Well, actually only like that, because I will lose detail on the tips here. So I'll leave that like like it is So what I will do now is I want to use this as a layer Mosques, or what I will do is press control of command and click on the thumbnail of the of the channel found Male. And you can see that it creates the selection for me and I'll go back to the layers palette and we can see that the selection is active and I'll click on the Little Mosque and my sky is gone. We still need to add Thea other sky, and when we do that, we will see if we have to retouch this this layer mask So I will press control Oh, and select my sky from the stock folder Breast control or command eight. So I have the entire campus control see to copy and control W to close the image, and I'll create a new layer below this pressing and holding controller command and clicking on this new layer icon that's named this Kaif and I say this background, Okay, I'll so let the Skylar and press Control V to book to pace the image that I just copied and I'll have to move it in place. And I also have to make it smaller cause too big. And while you make it smaller press control, just press the shift key. Sorry. And that where you will constrain the proportions. Let's see how we can flip this many horizontally and make it just a bit smaller. The reason why I shifted its You can see this part of the sky is brighter. And I think the face of the model is have the light on the on the left side. I'm not sure we will see it and press enter to accept the change. I might want to lower this or put it higher up. We'll see. And the next thing l I need to do is well, first zoom in. I want to make sure that my mask is he's okay. It looks OK, but the edges are not really are a bit jacket. So what I will probably do is use the refined edge or that's double click on it on photo shops here. Six you have. There's a father option which allows you to smooth and a bit the the edges. But it's not really going to to make Teoh give a great result. So what I will do is choose mosque edge, and what I'll do is increase a bit. The feather not too much, one pixel only and increase. The contrast is not looking, too, and I feel it's shifted just a bit. Or maybe just not smoothing it is not going to do any good, because you will start to reveal the background. So just increase a bit. The feather and a bit the contrast and that's it. It's chills Lear Mosque and okay, so now it looks a bit better. Let's see the before and after. You can see the result better right here, just smoothing the bit. It depends on what you like. You could increase the contrast a bit more, and then that where you will you will get maybe a better result. But I'm happy with that and let's add now our model, and that we have all the elements. The main elements on the image. I already have it subtracted from the background, and I use the panel to do that. And you can see I just traced the path using the mantle. So if the path option and just create a path around the edges of the model and then just turned that path into a slash in by right clicking and choosing make selection. And I actually made a tutorial, show you how to save that path on the jet bet file itself. So you don't have to create the path again when you want to use the same image on another project. So after you draw the path, don't delete it. Just go here on the past and you you should have a layer with the path had just created. So leave the path, they're just turn it into a selection mask the image, and with that path, active saved the J. Paige. And the next time you open the J pic file, you will see that the path is still there and all you need to do is press control and click on that path and you will open. I already have a detail about that on my website and on YouTube so you can take a look at that if you want to. But I will do is copy my model here, control. See to copy it. Go back to my canvas and pasted above the rest of the elements and I'll name this finger, and I will turn it into a smart object that way. Can change the size whenever I want without losing quality. And that's at it here. Make it just a bit bigger and put it a bit higher up my dad's. Uh, I'll leave it. Probably something like that. I'll check the original to see more or less the size. Yeah, about that big and place it here and the next thing I want to do. I don't like this thing here. This part's all. Select the background there and I'll choose the patch tool and I wanna fix this part here. But with the patch toward, just select that Andi, get rid of that. Uh, that hole there, I didn't like it. It was too distracting. So we have the main elements on the image. All we need to do now is adjust the contrast, the colors and everything, and then we will add the wings, the fire and the rest of the elements. The first thing I want to do is change the saturation of this background layer. So what I will do is create a hue saturation adjustment layer, and I will keep it to the background layer by right clicking on it and choosing create clipping mask. Another way of doing that is holding the bulky and clicking between the two layers, and you can see how the miles changes. And if you click, you will create and release clipping masks, and I will reduce the saturation Tu minus 75 you can see it darkens it a bit. I'll reset my workspace because I made some changes. I want my I want my adjustments to appear here linked to the second dark, and the next thing I want to do is at some levels. So go down here and add levels. Also, I sleeping mask so right click and choose great clipping mask. And according to the notes that I have, I just modified to the mid tones at zero point and 84. So I just darkened a bit. The mid tones and on the output levels here on the bottom. I changed this to 21. So I'll type 21 just to add a bit more of light on the shadows. You could see that it was to the contrast was too high. So I just added a bit of light 21 in tribute to my soul Pro Everton 18 or 16. Something like that. And we're done with the with the background. Let's move on to the woman later. What I did here is not really necessary. It looks pretty nice, but what I did is I use the mixer, brush the mixer brush still to smoke in the big disk. And so I will do this just to see how you can use this mixer brush tool to reach our skin if you want to. So what I did is I crazy. The nuclear. I will name this smoke skin okay, and I'll clip it to the singer later. So create clipping mask again because I only want to affect this layer and I'll get the mixer brush tool. It's under the brush tool, so select mixer brush tool and you'll have to added the settings here. The most important setting is you have to check this setting here that says, Clean the brush after each stroke because you want to clean the brush. Otherwise, you will get the color from one spot and you'll smudge it over the other over air over other areas, which is not what you want and then just tweak the settings here. These are the things that I have. I don't even know if they will work. Let's see, and with this still, what you do is just paint like that and you will smooth. The skin is almost like a blind, Um, almost like applying the surface blur, but it keeps a bit of texture, and you have to be careful not to smart. You see this shadow here, You must be careful not to click here and drag down. You will see that you will take the highlights from here and smart of them over the shadow , so that's not good. Just follow the same shapes, follow shape of the body and follow the highlights and shadows. I used this technique on other tutorials, and I don't have to be careful about the edges. That's why clipped it so I can do things like that it will not affect it will not affect me . But I will do smudge. I have sample all there's otherwise it will not work. But if you click here and smart, you will take the colors from the from the sky and you will smudge them over the skin. So makes you go up, but not down. Okay, so undo that and just make a few strokes here, just smoothing of it. The skin. So see here on the on the arm. I'm going on this direction rather than horizontally. So I would just go vertical and you can see that I'm hiding this point here. If you really picky about this, you can even use the spot healing brush, tooling clean imperfections on the skin. But I didn't do that. I will just decreased a bit. The brush size and one thing you can do if I don't know if you can see it on the video, but to use a really big brush. Sometimes you can see lines here on the brush, and that's because of the size setting. So with the brush selected, click on the brush, press F five and see here the spacing if you see those lines when your brushes because you have a spacing too high, just reduce it to about four or 5%. Don't reduce it at zero, cause it will put it will slow down photo shop. So leave it that about, say, for 10%. You can also see that once you do that looks like the brush has more effect than before. So just lower the settings a bit that's lowered load and the wet as well just a bit. And it was You can change the opacity of this layer if you want. I just want to show you how the data see. You must keep this highlight here on the cheek because that gives shape to the face. So don't don't cover it. You can really change the shape of the body with this still, so you have to be careful not to overdo the settings and go step by step. I'll show you a before and after the second so you can see what he did. Let me increase the brush. I just a bit and see have this highlight here on the on the legs. So just don't go on the vertical plane just make a few strokes and, of course, makes you have checked sample all layers. I'm not doing a really good job here, but anyways, I'm doing it quick. You can check the original PSD five minute with a big mistake. Here. You can check the original PSD file to see the effect that I got and just take your time doing this. But I don't want to spend too much time here because the tutorial there's other things that I want to show you. I showed this technique on other on other tutorials, so let me show you before and after before and after. And that's go here on the top part so you can see the before and after and see how I smooth in the bid, the shadows and the highlights and the skin. So that's how I smoke in the skin With this mixer brush tool. Let's move on and add the first adjustment layer for the woman. And again, I wanted to de saturate this because the woman has too much color competitive the background. So after a few situation adjustment again as clipping mask and I reduced the situation to minus 15 it's a really managed minor change, but we can add it this later on if you if we need to. Now the color is a bit more even on the entire image. So what I did next, in order to make the color even more uniform, is at a feel adjustment layer. So go here, Teoh the adjustments and choose solid color and the color that I use will give you the exact value. So this is a call that I used. Can you can copy from here? I just use this dark blue and I change the blind one of this to collar and changed the A pass iti to 30%. And that's how I got this sort of bluish tone on the image. And then I added another adjustment, which is Ah, radiant map. I used radiant map quite a lot to change because I want to give separate colors to highlight and shadow. That's why he is great at maps and in this case, I used the colors. So this is one color that I used for the shadows and for the highlights I use disagree this like gray and click. Ok, and them I chose, I chose the soft, light, bland mode for this layer. So go to the bland mode until soft light and decrease the capacity two at sea, about 30%. I think it will look OK, and you can see that it increases the contrast on the image a bit. You conceded that here, here in the sky, and now we have to go back a bit here on the layers ballot because I want to create the shadows for the woman and I'll go under the single layer and create a new layer below it. And first I wanted to create some shadows on the background itself, right here on the edges and here, so named this background shadows okay, and I'll get the process toe and use the really soft brush, and we'll change the size of bits and decreased capacity and the flow to about, Let's see 30% and use the black color on Let's see, that's even too strong. So I'll decreased capacity to about 20 and the floor as well, and just paint a few shadows right here on the size of this of the background. Here, I don't want to paint on the sky too much you could clip this if you want to, uh, to the bag. Don't lier can create a clipping mask if you don't want to affect the sky. But anyway, again, I wonder focused light right here. That's why I'm painting this these shadows here. So see what I did before an actor. It's that given to strong Celeste's reduced descendant. And it was, You can change capacity and add more shadows after have everything ready, and that where you will have a better, better view after at the fire and other elements. Let's make the shadow for the woman now so great and you'll hear about that. You can see it's below the singer later that's named this singer shadow. Okay, and I'll use my technique to create shadows, which is used, um, a small brush and harnessed about 40 35 or 40%. I'll change the opacity on the flow to about 45% and zoom in even more, and I create things shadows on two stages. First I make the contact shadows. So these are the shadows that just under the object in this case, under the woman's feet and under this microphone here just shadows that are, um, close to the to her feet, and I'll increase the harness even more and flow. It's It's even too strong the flow and, uh, and your capacity. But that's okay. If you want to have more control, reduce the flow to, let's say, 25 the capacity as well, and that where you have a bit more control. And don't be afraid to use a hard brush. Not what 100% hard, but harder than then you would usually do for shadows and just paying some shadows like that. Make sure the before and after so you can see that we did something there. And the next kind of shadows that I make are soft shadows. If you don't want to ruin the shelves, I just made. If you like how this one's look, you can create another layer. I have some experience with this so I could draw the shadows on top of these ones, but you can get the new layer and call this soft shadows, and that way, if you make a mistake here, you don't have to undo just delete everything and do it again. But this time increased the brush size a bit and reduced harness to zero and reduced capacity. And the flow to about 10% in this case has reduced that to 10%. Because I have these two adjustments here, which will make the shadows look stronger. So I want to work with real opacity and flow so I can control the amount of shadow that I make and it's a bit too low. It's too. Let's leave it at about 20% and just pains around around the woman's feet right here under the microphone. Okay, so make this soft shadows. Okay, so given paying some shadows, there may be here. And while a few more shed was right here Okay, let me show the before and after So you can see without the self shadows and with the south shadows. Now it looks like the woman is really standing here and now on, See why shifted the sky, have this brighter part here. And you see this highlight on the woman's face and that's why I wanted to change to flip the sky. There are also a few things that bother me here. Which is this leave here? I would probably crop the image amusing the crop took. I don't that there. And also this one here, you could You could use some tool to get rid of that. And maybe this part here as well. But anyways, we'll live like that. 3. Devil Bride Part 2: Let's move on and let's add the wings. Press again. Control command O to open this window and choose the Angel Wing on the stock folder. And this is the wing and I'll use the political last. So, too, to select this part. And I'll use this other feather to add a detail here. But that's at the wings. Here we will add them under the singer, there to press control V to taste the wing there. Let's name this left wing, and I'll turn this into a smart object cause I want to make them smaller, like so just a bit bigger. Something like that, and just a bit lower. You can use the arrow keys, and if you press the shift key, you're moving. And I think in five pixel increments and not sure. And now I'll duplicate that pressing control or command J. If you do that, you will duplicate the smart objects. So if you make a change to one of the smart objects, I'll show you that I have a duplicate of that. Flip it horizontally and I'll see what I mean by that's just in case you didn't know, I'll just turn it slightly and maybe change the size of it. Not too much late. Doesn't look till identical to the other one. What I was saying about the smart object is you have a smart object and you depressed control of command j to duplicate it. What he will do is duplicate the same smart object. And if you make a change to the original smart object, you will also affect the copy from in this case, the read the right wing. Here is a copy of this one. What I will do is open the left wing or double click on it and I'll show that other adjustment layer to it. Hue, saturation, for example, chose colorized. I'll make it red and I'll close this And you asked me if I want to save this as a P S D file and I'll chills Yes, I want to save it. And I guess you got both are right because this is the same smart object, even though it's on another later. So what If you want to have independent smart object, what you can do is right. Click and choose new smart object via copy. Okay. And that where you you created another smart object. Let's undo that. Remove this adjustment and say this again. And now we have the original, the original wings, and all we need to do now is add the fire. But I want to place the wings just a bit lower. Something like that maybe turned him slightly. So just adjust the position and we have our wings Group death change. I'll change the name of this group, the wings and in food shops here. Six. You can apply start later styles to the whole toe, a whole group so you can. You can do that In previous versions, you couldn't do that. So if I want to add, for example, on a neither shadow, I could do that. I just can't change the angle and and sort of a light effect here because we'll add the fire. Change Obama to color dodge and looks like now we have this wing's on fire. But I will not do that. I will use the fire instead, and we'll see what we get well before adding the fire. Let's at that feather that that I was talking about so with a new layer below the wings and go back to this stock image and just select this feather here and based it here and just move it down a bit. Of course, I have to make it smaller, and I'll place it here and maybe make a duplicate of that. It with horizontally may be turning around a bit, and I'll place it somewhere here, and we will add some fire on this one as well. And if you wanna really go beyond that, you can create another layer below that and call it feathers shadow and with a soft brush, just paint. Um, shadow under this father's here just to give it a bit more dimension, a bit more death, and we're good to go. Let's minimize this Wings folder. Let's go on top of everything. And remember that we have these two adjustments on top of our composition. So great a new later and this will actually be a group. Let's press control GN mean this group fire, and this will be our first layer and go to open our our stock folder. And so let's start with this with this stock image so we will use this house for our wings . Select everything press control, see to carpet. Let me close this and go back to my canvas So I will taste the fire here. And of course, you can see it's not looking too nice. And since we have this on a black background, we can get rid of that really easily by changing the blend mode to screen. And you can see that now we only have the fire and the background is gone if you still see some edges. In this case, the Bhagwan was perfectly black, so there was. It was pure black. If you see some edges, what it can do is with the fire Lear selected press control or command l and that will bring up the levels. And all you need to do is move the slider to left this in the last cider movie to the right Sorry. And that you will you will make the shadows even darker and that where you get rid of the of the background completely and I have to make this image smaller, pressing control or command teeth below the free transform press and hold the shift key so they constrain proportions because you don't want to do things like that and make it smaller. Let's put it here. See? More or less how big we wanna have this something like that wrote it to just the debt. And what you can do in order to adapt its to the to the wings is press right. Click and choose warp and get the edges and warped them like that. Okay, Don't work too much. Better use a layer mask. So actually not warp it because I don't want to distort the image. You lose quality If you warp it, I'll just make it smaller and turn it slightly like so I'll place it here a bit bigger, and what I don't want to do is I don't want to get rid of this part Here is that this is texture and he will make it look like this part of the wing are in fire as well. Great. A layer mask for this. Get the brush tool. Use a soft brush. Make sure the capacity and the floor to 100% foreground color. Set the black and just mask with a soft brush. The edges like so. Okay, so have our first fire there. Let's open another stock image. Let's choose this one. For example, Just use as many fire images as you have. I don't like this one. Users many images of fire as you have, so they have some variation. We can also use this one again. The same process based interrogated. This one is really, really big. So make sure you make it smaller. I don't even know if I really like this one. But let's leave it here. Changed all that motive screen. But you can see that is not looking good. We have all these are just years. So what I will do is press control, command l and just moved this slider until I get rid of the background almost completely. Okay, so I'll place it here and I'll have to get another layer mask for this and just get rid of off everything that I don't want on the image. Maybe rotated slightly. And one thing you can notice that these ones has a slightly different color and has more contrast than this one. So we have to do is open the hue saturation with control you or command you and maybe decrease a bit the saturation Or maybe changed. Hugh. If the colors don't match and make them match to the other fire. It's about three and maybe D'Cruz saturation, but not too much. Okay, so or the other thing you can do is make the other one match the second fire. So and here's the levels on the 1st 1 and maybe increase the contrast A bit like so. Okay, it was just a matter of using labels and hue saturation. Let's open another fire image that's choose this one. And so, like this part of the smoke and and the fire carpet, close it and based it over my image. Use a blend mode to screen again. Open the levels. Well, the slider to the left to the right. Sorry. And let's paste it here. Let's place it there and make it smaller. And in this case, I only want this part here so great a layer mask and I'll mask everything. Okay like that. I'll probably duplicate this later and move. It may be here and mask this part here. Okay, so we're almost done. I need more texture on this part of the wing. So what I will do is open the first image again. Which was this one and I want to copy this lower part, this one and face to begin here, I'll make it smaller excel. Place it here and change the blame onto screen again. And I'll use the great a layer mask for it. But this time I want to just mask the edges a bit like so okay. And that we have a bit more texture over the wing here. It could even play see the lower, like so on a mask, the edges Really carefully. I don't And I see this other fire. See that Have fire here and we have to remove that. So this was the layer. Get the brush tool, a mask, the fire there and here. And we also have this one. I have this piece of fire here. I don't know from from which later, but one way of finding out, expressing. So, like the move to press and hold the controller command key and click. And it will select the layer that belongs to this part here. Okay, so get the brush tool now gonna have identified the layer and mascot fund, which I don't need and the same thing here. I don't know which Leary's have this. It is part of fire here. I don't know which layer is from. So what? I lose with the move tool selected present Holder, Control of command key. Click on a will select the living for me I was like the letter mosque and just mask this part. So now we have the fire for the for the right wing and what I will do is select all the layers and create another group inside this fire group. And let's name this right fire. And one thing I would want advice that I would give you is not to duplicate this group and put on the other side. It will look as a copy so it will identical to this one. So don't do that. What you can do, though, is if you really want to do that is duplicate the group. Place the firing and change the order changed the on the position of the flames. But what I will do is create another great leaders myself and had the fire manually is not really that difficult. It's like this one. Control C control W Control V. So with the keyboard shortcut is really it's really fast That's why I always say, Try to use the keyboard shortcuts and I was not really not really easy at the beginning, but on the long run, it will be a lot faster for you and will speed up your workflow, said the blame on the screen and see what I was talking about. This edges here because the background is not really black. So what I will do is open the levels not too much. And I want to have a bit more light on the fire Soul. Bring up the meat tones and the highlights slightly. So let's on this fire here and you can see it's over the woman's hand. I'll show you how to fix that. It doesn't really bother me that it's on top of the woman's hand. Also had to fix that opened another. I'll open another fire, which is this one. So I tried to have different fire. Stock images on Devon are. You will find towns of them for free. You don't have to buy them. I purchased a few ones from deposit photos, but you can. You can download free ones, change the language to screen again. I'll flip it horizontally like so, And the reason why I like this stock image is because you have the stature here on the bottom, and that's really nice. It looks really nice from the wings. Place this one here, and one thing I will do before I add more fired is created like these two layers, which are from the left wing press control G to create the group on Let's name this left fire, and what I will do is add a layer mask on this group of brittle Irma's. If you have a previous version off photo shop on, you cannot create a layer mask for the group. What you can do is do the same tangy that I will do now for each layer, and the technique consists of creating a later for this layer mask for this group. Now scroll down until I find it on the layer of the woman and once locates the leader of the Woman Press and hold controller command and click on it, and that will load the contour of the woman. And with this selection active, I'll go back to my layer mask and with the black color selected for my foreground, press and hold the old. We're option. Keep press backspace, and that will feel the selection, and it will mask. It will mask this this part, and that way it looks like the fire is behind the woman. So if I deactivate this layer mask pressing shift and clicking on it, you will see that the fires on actually on top of the woman layers. So now I can safely move this around however I want. It will not show over the woman because this masks this relate amounts care protects, protects me. Okay, so to say so. Let me undo that on Keep adding more fire here. And, um, this one, maybe. Or let's add this one. So have as many far stock images as you can. Let's add it there. Make it smaller to about 30%. Let's see how big that is. It's still too big and flip it horizontally, so I get to use the same process over and over again. Change the blame on the screen, open the levels, change the momentum's and the shadows and then, with hue, saturation, reduce a bit saturation. Maybe a bit. The lightness Well, let's not mess with the lightness gets, it will make the final look ugly. So I even the saturated too much. Let me undo that. I don't like what it did there. I'll place it here and create a layer mask for it. Okay? And that I think that I will do is open that I actually haven't opened here this other stock image and tasted again. I should have done a little bit more a few more stock images with fire. Change the language to screen and place it right here. And I'll flip it horizontally and place it right there. And I'll have to mask a lot here on this part. Great. Earlier mosque. And just I asked the entire part here that they wanna have duplicated fire. It will look to too much fire there. Okay, so the fire on the left side, it doesn't look too good. Let me add that other part of the this one here. Just a little bit more texture right there on. Just make it smaller and change the language to screen again. Create a little mosque and mosque. This part here cause I don't want toe have fired there. I just want to have some texture dear. And I'll duplicated on. Probably move it right here. And I can still see some lines here, so get rid of that using the brush. Still to mask that part. Okay, so that's the fire here, but with still can make this. We can add a bit more drama here to this fire. We can add some particles using these other stock images here. This one. You can see this particles here. This will look really good. So I just select the particles themselves. Copy them and closed Image and Adam right here on the actually add them on this same left wing on the left fire group above everything. She's a blonde with the screen, and we have to make this smaller, rotated them a bit and just add a few particles and you can't safely duplicate this one's. Nobody will tell that this is a duplicate. It's hard to identify each particle, the fire, so you can duplicate them like so on. Just make another duplicates move. It's here on this other side. The click it again. Rotate a bit and change position. It's duplicated. Well, actually, open another one because I have another stock image this one with more particles. Adam here changed bond with the screen, right, Change the size. And that's and, um actually I said on the top part as well. Right here. And a pad earlier mosque and just mask this stop to stop part but painting with black, like so and duplicate and be careful with the edges. I saw some marriages right here. I mean, you activate it, so make sure you see no edges. And if you see them, just mask them with a soft brush so they would have the particles and the fire, and everything looks nice. Now we have our fire group before and after, so Oh, I see some see a mistake here. See the ad there. So let's expand the left fire and see which earlier belongs to that. It's this one. I'll get a little mask for it and just mask that part and I'll probably duplicated and flip it of it and add a bit more particles there and just be careful with the edges that that was talking about. So at this point, I live it like it is. I think you already got the idea. Take your time and make this look realistic, and the next thing we need to do is create the light that the fire cast over the woman. So what I will do is scroll down to locate the singer later the woman later and on top of the smooth skin, actually on top of the hue saturation as well. I'll create another layer and clip it to the woman and on in this fire, right, because I want to paint some some light from the fire on the woman's body, and I changed the battle of these two colored dodge. Use a soft brush and let's see what color we need to use here. With the color dodge, you need to use a dark color dark orange. We will use in this case because if you use a color like this, if you're paying Kelsey, that's way too high and burnish the image. So use a dark tone and just paint with a soft part of the brush. Madaj paint with the soft part of the brush and just on the edges, because that's just what I had a few lights, especially here in the highlights, and you'll see effect, you know, second, and it's too strong will decrease the color. Let's make it darker. Sorry, that's too dark. So you have to try different colors until you find the right one. Even so, institutional decrease capacity of the brush because that waken make several passes and I can build up the effect myself manually. Okay, so what it will do is make the color a bit brighter because I decreased capacity on the floor in that work and build up the effect. And it's so easy for me to work that way. Okay, and just do the same here in this part. So just with the soft part like that, this soft part of the brush on and do the same here and on this part of the face as well that's too much. So here on this finger as well have to stronger, brighter color here, probably increasingly dip, etc. And the flow just adjusting the settings of the brush until you get the right amount of effect. I know how that looks. Try different color tones for each for each area that you want a pain because the color the color dodge glamour interacts differently depending on the color that you have that your painting over? Okay, so it's just sitting here with the microphone and it's too strong. Something like that. Okay, so that's the effect that we got here. I should probably paint a bit more here on the neck area. That's too much. Don't overdo this. The effect. It's really easy to mess up and make you look. Ah, make it look bad. So be careful. Okay? I think now it looks a bit better. You can even do that on here in the bottom, or try at some light here on this on this side. Or maybe on the plans here. If you're if you're good at painting, Um, I would try, but I think it will not look nice. Change lemon to color. Don't again, and you have to use a really dark color, but I think it it's not going to look nice, but I'll try. I didn't do it on your regional. Just add a bit of flight there, but I was not looking too nice. I don't I don't really like, let's all deleted. So let's see the before and after, with slight effect before and after. It's enough to change to change the little can make it look as riel firelight. Probably going to be more here on the microphone with the brighter tone. No, it will look a bit better. Okay, What you can also do, if you want, it's gonna try it on the singer later opened layer style and use inner glow and change the color to this same dark orange and change the blend mode to color dodge and that we had the same effect of the entire body. And you will probably end up a lot a lot faster, maybe with a better result in doing it manually. So that's another. That's another option you have. So let's leave. Both of them have a bit too much like they're in the face. Probably used the residue on Get rid of that. Okay, so we have our fire here. But one thing I forgot is to add a bit of fire on this feather here, So expand the fire again. Press control of command. Oh, and and I should have dollars more fire stock images because I don't think this will look nice for my father here. A coping that that part and paste it here and make it smaller. Let's see about 10%. Oh, maybe it just bigger, like so changeable and with the screen and place it right there and maybe used a hue saturation to century to call it a bit more and use the leader mosque to blend the edges a bit so well. So that's the fire on that feather. Their I need to be more contrast on it, a bit more brightness and maybe a bit more saturation. That's my fire there. Okay, so now we're good to go. All we need to do now with some general adjustments and dodging and burning the dodging and burning later. So I'll create a new layer on top of everything and just named this dodge breath and let's go to edit. Just feel on 50% gray quick. Okay, that that will feel the later with 50% Grandchild's the blend mode for this. Let's try soft white and everything will become invisible, and now we get the Dodge Tool. This is a technique that I used a lot of times on many of my tutorials. Let's leave the exposure to about 15 and just dodged. The highlights. Just enhance a bit. The shapes the highlights, your legs, for example. And of course, right here on the background as well. Don't be. Don't be afraid. Off enhancing the highlights on this wooden planks here. Maybe here a bit on the face. I just used the Dodge still really quick. Let's see the before and after I added a bit of light on some places and then with the burn to do the same, but go over the shadows, so enhance the shadows a bit. This is really, really quick dodging and burning you could spend, like, maybe half on hour this image. I didn't dodge Templin too much. Just some details that I thought we're a bit important, but I skipped most of them. Okay? And what I could do is use the burn till here on this parts you, but I'll increase a bit. The exposure just on the on each side off this blanks here. And of course, you can also do the same on the sky if you want to. But also a technique to to shop in the sky and make it look a bit more dramatic. Um, I used the filter, but you can also do it manually if you want to. So I added the Dodge and burn earlier. See the before an answer, so just changes a bit. The aspect of the image. So next let's add the final adjustments. 4. Devil Bride Part 3: the first adjustment that I used his agreed in mob. So go on the bottom of the litter spot and add the ingredient map and I'll give you the color codes there. Years for the shadows used this colored and then for the highlights. I used another color. You have this other yellow color and click OK and I change. I change the blend mode of this too vivid light school down and she was vivid light and you can see what invested image almost destroys it. But GED capacity to 10% and you will see what it does. It adds more contrast, a bit more color and you can see the effect that you get. You will be every like the fact that you get with that and then to reduce a bit. The contrast on the shadows you'll see the family get is I used a solid color. I used this quite autumn on my latest tutorials is you use a really dark blue like so a really dark blue okay and change the band more to exclusion so changed by one to exclusion . And once you do that, you will see that image changes and you can find him this. I want to have a more unsaturated effect. If you use a bright color like this, you will see what it does it on the shadows. You have the color day chose, which is this one. But on the highlights, it uses the opposite color, which in this case is yellow because the opposite of blue is yellow on the RGB mode. I have to toil about that about opposite colors. And I said there that the opposite of blue is yellow on. We need to use a really dark blue in this case and kind of unsaturated and I'll see what it does quick. Okay? And I don't see what it does. It just adds a bit of light on the shadows and it reduces a bit. The contrast and it I don't know, it makes toe the image a little bit different, and I really like what it does. So that's the effect there. And the last thing that we need to do is make the general lighting adjustment. I do this on almost all my manipulations. So what I do is some of the top most later press shift command and option e and that Will you merge all the layers on to a new way that's named this final? And what I will do is turn this into a smart object because I will apply filter to this. And I want to be able to add that fielder whenever I want. And I will go to the first filter that I will applies the lighting effects Wilders ago to filter render. In some cases, this is not active and that there are several reasons why that my filter might not be active. One of them is because you're in 16 bits mode. Maybe you're not in RGB mode, so just go here to image mode, make sure you're on eight bits mode and RGB, and that might solve your problem. I have my light here. I'll zoom out. I'm using photo shops here. Six. So this, uh, blogging or this filter has been she they changed it. Now it's have the premium. The entire image on previous versions of photo shop had a like a small window with a really small preview, but the content of control were pretty much the same. So what I won't do is make the image make this spotlight a bit smaller, not too big. I zoomed out too much. So have something like that. For some reason, it's not center, but anyway, thistles my light. Here, let's drag it down a bit and zoom in, and I'll reduce the hot spot, which is the center part. Reduce the intensity, of course, because it was too bright. Or maybe the ambiance, etc. May be increased heart spot. So just changed the light here. I want to have a bit more like here and more shadows on the sides, So try to have more light here on centre and shadows on the sides. And you can also colorize this if you want to a color. But I'll leave it to white, and I want to mess with that. Um, be careful not to burn the highlights. That's really important. Not don't burn the highlights. And let's reduce the metallic to about Dan or something like that. Let's go. Can see how the image looks and seems we have. Is that a smart object? I can reopen that readjusted. If I need to know, I assume in I have a bit too much light here on the face. I kind of burned that on what I will do instead of modifying the whole filter. Since everything looks nice to me, what I will do is critically mosque for this. Well, actually, use the mosque off the filter itself because this is march filter now, years of really low opacity brush and just mask this effect here and take away some of the light. You see that? Um, I just painted over this area here. Teoh, remove some of the light that was added with this lighting effects filter on. That's all. In order to sharpen this and make it look a bit more contrast, E, why do is use a tow pass filter? It's the It's a detail to filter is the only fielder That is not from Photoshopped that I use. Although I have all the topaz filters, I re only used this one, and I only used them for final for final effects like this one, and I'll boost the big, large detail, not too much, and the small details as well, just a bit, and that will make image a bit sharper. You I don't have to make it the previous If you press the space bar. You will see the before and after, but no, I'm at 100% so you can see the before and after. I can still see that I didn't mask this part of the fire. I can still see that line there. But anyway, as I told you, just be careful and Andi, look for those edges because you'll have them and zoom out a bit. And the next thing that I will do is I want to unsaturated this image so slow pals and go down here and on the collar all reduce the saturation a bit and reduce the boost and increase the saturation. And that was too much. Okay, something like that. And let's see what we can do with the hue. Not too much. Have a a rather tone on the fire That's too much red. Also, you can change the contrast based on each based on each channel and at school, because you can really change the aspect of the image. I'll leave it untouched and increase the saturation a bit more. Okay, so that's my image. There may be increased. Just a bit of meat owns the medium Details. Sorry like that and I'll click. OK, so that's the final effect off this tutorial. This is the final effect that we get. Let me show that this was the before, and this is the after after applying the lighting effects. And I know many of you don't have this Topaz Fielder, so I want to show you an alternative way of doing that. So let's see how you can do it. So for people that don't have this still passed filter, let's see how you can do that. What I will do is delete the Topaz detail fielder. I'll leave the lighting effects and OK, we're done. What I will do is create another stamp with which, if controlled and E and I'll rename this Final Two. And what I will do is I'll tend to see a smart object again, and I will go to image adjustments and choose shadows highlights, and you can see the kind of effect McGettigan create hdr looking effects with the shadows slider. What you will do is remove at a light to the shadows so we total with you can control the amount of light that you have. And let's see something like that, and with the highlights, either. The same remove highlights its increased radius. I don't have something like that more light and let's see the midterm contrast. I don't have a bit more contrast on the mid tones, probably a bit more light in there on the shadows and a bigger radius, something I got to the before and after. So before and after I took too much added too much light on the shadows, so increasing instead of decreasing the tone with the Christie amount and maybe the total with a bit again. Okay, so that's the effect that I got with this. You can see that you have a bit more detail here, but we're not done. I applied this. The shadows highlights. And with this same smart, smart object, I'll go to filter, choose other and choose high best, and you have to choose a radius, and you can see what what this filter does. Its it adds this 50% gray layer, and as you increase the radius, it adds detail from the image. It starts at highlights, so we'll choose a rather small radius of about three pixels. Something like that week, OK and citizens, a smart object If you double click on this icon here on the high pass, he will open this blending options window, which you can, which allows you to change the blinding mode of this filter. So we'll choose saw flight and let's see the before and after its click OK and see before and after that, zoom in so you can see it better, assuming 100% against the before and after, it really sharpens the image and the bigger the radius, the nicer the effect. Don't overdo it, though. You also try the overly bland mode so instead of he was in the soft light, if you want to get a stronger effect, can use overly and you can you will get even stronger effect where you can even use vivid light. But that will really make it sharp on. You would probably have to decrease capacity a bit, so see the effects. It's too sharp for my taste, but anyways, and as a final thought, you can use vibrance and I'll keep it to this final to and what I'll do. Let's see, I'll increase the vibrant sent, reduce the saturation, not looking good. Let's try the opposite. Yeah, it looks a bit better, so I like rather uncensored images like this. You can see the before natural, so that's how you can sharpen your images if you don't have it till past details. Fielder