Burning Paper Effect Photoshop

[Carmen Kalua]

Iwant to create a photo collage where each photo burns through (paper or old school film projector melting) to the next photo. I've played around with the cc burn effect, which is pretty cool, but I'd like a bit more of the red, burning ash vibe. Any tips or tutorials that explain it?

Use an animated, feathered mask instead and ruffle it up with the Roughen Edges effect. All you need is multiple layers with different settings and colorations. If you pre-compose your matte, creating the afterglow on the edges could in fact be as trivial as using the Find Edges effect suitably colorized, again jittered up with another Roughen Edges and treated with glow. It's just going to take time to tweak the look...

If you want to stay inside After Effects and don't want to spend money on 3rd party plugins, the easiest option I can think of is to use a combination of Fractal Noise, Colorama, and Glow to get some burning looking patterns. Then you can supplement that with a free plugin from Video Copilot called Saber. It's hard to find the download unless you search the Video Copilot Blog. You'll find it right here. There's a good introductory tutorial to that great free effect on the blog page and you can find some more tutorials for Saber in the tutorials section of their webpage.

The other option is to purchase some stock footage and combine that with procedural mattes and animated masks and fractal noise and color effects to generate the effects. Whatever you do is going to require at least 4 and maybe 5 layers to make a transition between two images. You may end up with a lot more.

I did a quick search for tutorials but all of them that I found with a web search had been prepared enthusiasts and none of them had good explanations and efficient workflows. Feel free to take a look but most of the tutorials you find using a simple web search end up causing a lot of problems for folks that try and use them.

Whatever you do you're going to need a very good understanding of the basics so make sure you spend some quality time with the User Guide. If you ever find yourself completely confused, that is a good place to look at some well presented and well-organized workflows. There is no one right way to do anything in After Effects and most recipes need to be modified to work with anything that is much different than the original footage used in the examples.

This set contains 4 Photoshop actions with styles intact that will allow you to create burnt paper effects. The result contain easy to edit smart objects with layers intact so that you can customize the burnt paper effect, all the colors, paper patterns, burnt paper shape, etc.

A burnt edge is a favorite effect for many people, especially those that are interested in vintage, rustic or western designs. Creating this effect in Photoshop is actually much easier than you might think. There are only a couple of tools involved, and you could apply this to an old black and white photo, a parchment paper background, or any old photo that you think would be enhanced by this effect.

Does anyone know how to get effect like Dodge & Burn tool in photoshop, but nondestructively? Any normal solutions with soft light doesn't change saturation of the color, and I'm looking for effect similar for the Tool. Anyone ideas? :D

In this video tutorial watch as Abby Esparza shows you how to create a burning effect in Photoshop. This is a really cool effect, and the way Esparza goes about doing this is definitely one of the best ways I have seen.

In the video, Esparza starts by showing us the final burned effect, which I have to say looks amazing with lava-like quality. Glowing heat emanating from the charred skin. It looks like something pulled straight from a Lord of the Rings movie. As with any technique, it starts by building a good foundation to work on and that is what Esparza does, using adjustment layers to get the stock model's face ready for editing.

As the tutorial moves along, we see just how important blend modes are in the photo manipulation world. They certainly do come in very handy when blending textures into anything and open up so many possibilities. Esparza uses an image of rocks, which with some brightness adjustments, looks like charred wood when she has finished. One of the oldest tricks in the Photoshop playbook, adding fire to something with screen blend mode, is used as we move into the final stretch. I have used this on many occasions. It is an effective yet simple trick that can work wonders.

This tutorial is great for intermediate Photoshop artists who want to start having a go at more advanced Photoshop photo manipulation techniques. This video is a little harder than some of the other videos from Esparza but it is always good to challenge yourself and grow as an artist.

Clinton Lofthouse is an Advertising/Entertainment photographer, creative artworker and Photoshop expert from the U.K. Specializing in composite and photomanipulation imagery.

When he is not chained to his desktop PC editing, Clinton likes to put on Synthwave music, wear Aviator sunglasses and pretend to be in an 80s movie.

Give a real effect for all your designs, this torn and burned paper textures was made with real fire, ashes and paper getting an amazing edition, a great variety of forms, sizes and colors, feel the potential of combining them. Ideal for music videos, vintage logos, flyers, social media, prints, etc. with a grunge or vintage burned effect! Each texture has 300 DPI.

There's no pre-flashing, per se, in digital image editing. However there's a useful trick that accomplishes pretty much the same thing. Many image editors offer a specialized tool that can help ferret out difficult parts of an image while keeping noise to a moderate level.

In various incarnations of Nikon Capture it's been called DEE or D-Light (something like that, anyway). Photoshop Elements 3 had a similar tool. In RawShooter the "Fill Light" tool offers a similar feature.

Depending on the program these tools may have a global effect or can be used a bit more selectively to influence only a certain range - for example, deep shadow areas, while leaving midtones and highlights relatively unscathed.

Paint Shop Pro has a simple tool, adjustable via a slider, that can also mimic the effect of selective dodging and burning. Used to an extreme, it can actually resemble badly done dodging and burning, complete with artificial looking halos, just like we used to see in newspapers.

The easiest, not necessarily the best but perhaps better than in wet darkroom, is simply Image>Adjust>Contrast ...you can use it in selective areas with lasso or graphics tablet. You can combine that with selective brighness, dodging, burning...you can stay with wet darkroom metaphors if you wish. There are lots of more complicated ways to skin this cat, but there's no way you need any additional applications/plugins for the purpose.

When I saw the picture below, by Fionabev,in our member gallery it tookme back to the old camera club days when we would sweatblood in the darkroom trying to make our muddy blackand white landscapes into dramatic masterpieces. Buildingup the contrast by using special paper and over heatingthe chemicals, dodging and burning during the exposureto bring out the dramatic sky which somehow got lostand then burning all the edges to hold the subject in.

So what we are going to do first is buildup the contrast a bit to give the picture a more 'punchy'look. To do that we add a 'curves adjustment layer'.It is possible to use the curves tool directlyonto the photo layer, but a much better method is toapply the curve as a separate layer so we can make furtheradjustments later, if we want. Click the adjustmentlayer icon at the bottom of the layers palette and selectcurves from the menu. A new layer will be added andthe curves box displayed. If you have not used the 'curves'tool before, have a look at my tutorial on contrastfor an introduction.

Here is the curve that I applied. Becausewe are now in 'grayscale mode' the curve appears 'upsidedown' to the way you see it in RBG mode, the shadowsare up at the top left and the highlights are down inthe bottom right corner. This curve brightens the pictureand also steepens the main part of the curve, buildingup the contrast, bringing out the texture of the stoneand getting rid of the muddy grays that you always seemto get when you convert color pictures to black andwhite.

Next we use the 'quick mask' tool witha very large soft brush to mask the center of thepicture. To learn how to use the quick mask tool havea look at this'quick mask' tutorial. With the center selectedclicking on another 'curves adjustment layer' as before,gives the layer 'curves 2' above, you can see thatthe center of the picture has been masked. This timewhen we make adjustments to the curve only the edgesof the picture will be affected. I applied two maskedcurve layers on this picture because I wanted thebottom of the picture darker than the top, which asa general rule is a good idea.

If you go back up to the top right picture you cansee the finished result. The burning of the edgesis not very subtle in this picture because I needeveryone to see what I have done. In a 'real life'situation you might prefer to be a little less heavyhanded with the darkening of the edges and make asmoother transition.

Simply put, the Dodge and Burn tools will darken (burn) and lighten (dodge) areas of an image. Both the Dodge and Burn tools are brush-based and can be brushed onto any part of an image to darken and lighten specific areas. The process is based on the traditional darkroom technique where the photographer would either block light from reaching the photo paper (dodging) or increase the amount of light reaching areas of the photo paper (burning).

In previous versions of Photoshop, the brush-based tools of dodge and burn were useless. The tools promised to lighten (dodge) and darken (burn) targeted tones within the image, but their results were ugly. You would brush the dodge or the burn tool over an area of your image, and it would lighten or darken the pixels. You are also able to tell Photoshop to only pay attention to the highlights, midtones or shadows as you brushed the effect. And, because these tools are brush-based, you also have control over the size, shape, softness and opacity of the brush. This all sounds great. The problem was, it produced ugly results. Let me show you.

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