Teach Yourself Photoshop 4 in 14 Days

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Photoshop Filters

In a software application that is full of cool features, Photoshop's filters have to be the coolest. They will save you time and money and make your creativity soar--all with the click of a button and the adjustment of a few slider controls.

Filters are special effects. When you hear someone say that they applied a filter to an image, this is what they are talking about. He or she might have applied a blur effect or a lighting effect or an artistic effect. Photoshop 4 offers a number of new filters. There are 99 filters in all included with Photoshop, plus myriad more from third-party developers, such as Xaos and Alien Skin.

Due to obvious space and time constraints, I will not cover each and every filter. Rather, I will cover some of the more popular ones and useful ones and suggest to you that you just go wild with them. Go play. After you get comfortable with filters, see what you can find out beyond just the basics.

Figure 12.1
The Filters.

Applying Filter Effects

One of the most important things to remember about working with filters is that they don't work in all of the color modes that Photoshop makes available to you. You cannot use any filters if your image is in:

And only certain filters are available to you in the CMYK and Lab mode. The following filter families are not:

Therefore, if you are working and find that the filters are not available because they are grayed out, you will have to convert from your current mode into another. When you work with filters, work with RGB. Nine times out of 10 it will offer the best response to the filters. If you are going to print your images, try to stay in CMYK and work with the filters that are available for that mode. It is never good to convert from CMYK to RGB and then back unless you absolutely have to. For more information on color modes and conversion, see Day 4, "Color Modes and Models."

That said, filters are really easy to work with. The main problem that you will experience is not knowing what the filter actually does. I hope that this chapter will explain some of this and your own experimentation can fill in the gaps, but there are literally thousands and possibly millions of permutations of filter effects.


NOTE: If you are interested in finding more extensive materials on filters and their possibilities, let me direct you to a couple other Hayden titles. Photoshop Complete is a broad and deep reference on Photoshop, and delves thoroughly into Photoshop filters and their application.

Another book you might want to keep an eye out for, though has not at the present reached its publication date, is the Photoshop Filters Swatch Book. This is a full-color book with examples of all the filter effects laid out in easy to reference charts. Look for it in the midsummer of 1997.


To apply a filter all you have to do is click the Filter menu, drag down to the appropriate filter family, and select a filter from the sub menu. By default the filter will be applied to the entire image in the active window (see Figure 12.2).

Figure 12.2
The Distort+Twirl filter applied to the entire image.

Filter Dialog Boxes

You will notice that not all, but most, of the filters have dialog boxes. These usually include a preview feature that either applies the effect in the small window within the dialog box or applies it to the entire image in the background. You can usually deselect this feature if you choose, but I recommend that you keep it. It is your only way of knowing what the effect is going to look like, and some filters, due to the heavy-duty math your computer processor has to do to figure them, can take a while to complete.

Under the preview image, you will notice a + and a - sign (see Figure 12.3). These enable you to adjust the amount of the entire image you see in the preview window. Click the + button to zoom in, and the - button to zoom out.

Figure 12.3
An example of a filter dialog box.

You can move the image in the preview box. Simply place your cursor in the box. It will become a hand icon. Click and drag until you can see the item in which you are interested.

Finally, keep an eye on the blinking underline (usually found under the preview zoom buttons or the preview check box). If it is blinking, it means that your computer is still trying to figure out and apply the effect. When it stops, your effect is done.

And if the effect is not to your liking, simply press Alt (Command on the Mac) and the Cancel button will change to Reset. This enables you to return the settings to their default arrangement.


NOTE: When you are using a Filter dialog box, remember that you may either drag a slider to adjust the filter's effect or, for greater precision, enter numeric values into the spaces provided.

Applying Filter to Portions of Images

Sometimes you might run into a situation in which you don't want the filter you are working with to be applied to the entire image. It is easy to restrict your filter's effect to a selected portion of your image with a marquee selection (see Figure 12.4).

Figure 12.4
A selection.

1. Open file 12file01 from the accompanying CD-ROM.

2. Click the Rectangular Marquee tool in the Toolbox.

3. Drag out a selection (refer to Figure 12.4).

4. Select Filter+Distort+Twirl (see Figure 12.5).

Figure 12.5
The Distort+Twirl dialog box.

5. Drag the slider to set the Twirl. Notice the change in the schematic preview. For this example, I set the Twirl degree to 215.

6. Click OK.

Figure 12.6
The Distort
+Twirl filter applied to a portion of the image.


NOTE: Remember, after you apply a filter, survey it to see if it suits your expectations. Don't do anything! If you don't like it, you can select Edit+Undo to return to your original, pre-filtered image. If, however, you perform any other actions, you will be unable to Undo the filter. In this case, you will have to File+Revert to the last saved version of your image. This isn't a bad choice if you have been saving regularly, but it could mean a lot of work if you haven't been.

Another cool way that you can add interest to an image is to manipulate the focus of the image. Say, for instance, you want to bring some of the flowers into focus and reduce the interest of the background.

Follow these steps:

1. If you don't have 12file01 open, please open it now.

2. Select the Elliptical Marquee tool from the toolbox.

3. Drag a marquee around some of the foreground flowers.

4. Choose Select+Inverse to reverse your selection from what was within the original marquee to include everything outside of the selection (see Figure 12.7).

Figure 12.7
Inversing the selection.


NOTE: For Windows Users Only: After you have made a selection, click with your right mouse button somewhere within the image.
A menu with options will appear--options that are collected from various menus. Use this as a time-saver.
5. Next, select the Twirl filter (Filter+Distort+Twirl). If you have been working through these exercises sequentially, check out the following Note for a good tip.


NOTE: Notice that after you have applied a filter, you can apply it again (with the same settings as you specified the first time) again, by simply selecting this menu option at the top of the Filter menu. This saves you the time of having to go through the dialog box to get the same effect.

Figure 12.8
The filter applied to the background of the original selection.


Fading Filter Effects

Before you do anything else to the image that you completed in the last section, select Filter+Fade. If you had already closed the image, don't worry. Just apply a filter to image 12file01 (or an image of your own). Then select the Fade command. You will see the dialog box that appears in Figure 12.9.

Figure 12.9
The Fade dialog box.

The Fade command enables you to control the opacity of the filter that you just applied to an image. It also enables you to apply a blending mode.

In the following figure, I cut the opacity to 50% and set the blending mode to Exclusion. Click the Preview check box and try a variety of opacities and blending modes. See Day 7, "Digital Paint," for more information on blending modes.

Figure 12.10
Faded with the Exclusion blending mode.

The Filters

For the remainder of this chapter, we are going to explore the wide world of filters. We can't hit all of them, but we'll cover some good ones. Really, after you get the hang of using a few of them, you'll be able to use any of them with confidence. They can really be of great help to you, and can take a so-so image and really give it (with precious little work) a really cool look. And in this world of deadlines and need-it-done-yesterday, filters are a godsend. Let's first turn our attention to the family of Blur filters.

The Blur Filters

It is not hard to figure out, given the name, what the family of Blur filters can accomplish. Obviously, they blur images. But there are some interesting choices in the submenu. You can choose from:

Open the image 12file02 from the CD-ROM before we proceed so that you might have an image to which you can apply these different filters (see Figure 12.11). Remember, if you don't want like an effect, choose Edit+Undo immediately after applying the filter. This will return you to the original image. Of course, there is nothing saying that you can't apply a filter on top of another filter. You can apply filters on top of each other to your heart's content. I have made sure that each filter is applied to the original image so that you can the effect more clearly, but this is your book, your Photoshop, and your time. Please feel free to experiment as you will.

Figure 12.11
The original image (12file02).

Only Blur and Blur More directly affect the image without the intermediary control of a dialog box. These are great for softening a whole or part of an image. They do, however, lack the control of the other options. Give it shot. Try Blur first, and if it doesn't give you the effect you are interested in, select Blur again or choose Blur More (see Figures 12.12 and 12.13).

Figure 12.12
Blur filter.

Figure 12.13
Blur More.

The Gaussian Blur

The Gaussian Blur offers a greater degree of control. See the dialog box in Figure 12.14. Notice that as you change the radius, by dragging the slider or entering a number into the box, the preview changes, but also the entire image reflects the changes you make in the radius box (see Figure 12.15). Not all filters will update this way. I really appreciate the ones that do, however. This way you can really see what is going on in your image. It saves time on Undos and mistakes. Use it when available.

Figure 12.14
The Gaussian Blur dialog box.

Figure 12.15
Figure with a Gaussian Blur of 5.0 applied.

Motion Blur

The Motion Blur filter creates the illusion of motion in your image. This is a great effect to apply to type or to use in creating animated GIFs for web delivery (see Figure 12.16). For more information on animated GIFs, see Day 14, "Photoshop for the Web."

Figure 12.16
Original image.

In the Motion Blur dialog box the distance sets how much of a blur is applied--or how far the original image is "moved" (see Figure 12.17). The angle sets the direction of the blur. To adjust, drag the radius icon or enter precise values into the field next to it. For this example, I chose a distance of 10 pixels and an angle of 40 (see Figure 12.18).

Figure 12.17
The Motion Blur dialog box.

Figure 12.18
With Motion Blur applied.

Radial Blur

This filter is somewhat different in that it offers no exact preview. It does, however, offer you a sketch of what how it will blur your image (see Figure 12.19). As the name suggests, it creates a circular blur as you will see in the following images.

Figure 12.19
The Radial Blur dialog box.

You also can select between a zoom and spin blur method. See Figure 12.20 for an example of the spin blur and Figure 12.21 for an example of the zoom effect. The spin blur creates a spin effect and the zoom blur creates the appearance that the viewer is flying into the image.

Figure 12.20
With Radial Blur applied--Spin effect at Amount= 50.

Figure 12.21
With Radial Blur applied--Zoom effect at Amount= 50.

This is a processor intense sort of filter, so be prepared to wait a minute or two before you see the results.

The Smart Blur

The last of the Blur filters ius the Smart Blur filter. It finds the edges of color in your image and blurs them without muddying the rest of the image. Set the threshold low to find a lot of edges, as shown in Figure 12.22's dialog box. Figure 12.23 shows the results of this. You can set the threshold higher to be more discreet. The Radius controls the outer perimeter from the edge where the filter will be applied.

Figure 12.22
The Smart Blur dialog box.

For a dramatically different effect, you can change the Mode to Edge Only in its drop-down menu, located at the bottom of the dialog box (see Figure 12.24). This blur results in only giving you an outline of your image's subject matter (see Figure 12.25). Smart Blur is another processor-intense filter. Be prepared for a short wait.

Figure 12.23
Smart Blur effect.

Figure 12.24
Setting the Edge Only mode.

Figure 12.25
Results of the Edge Only blur.

The Sharpen Filters

The Sharpen filters do just the opposite of the Blur filters, although you can't take an overly sharp image and blur it back down--they are not exact inverses. But, for our purposes at this level, the generalization is close enough. The Sharpen filters sharpen and bring out the contrast in an image.

Open the image 12file03 from the CD to follow along. I have, just so you know, slightly blurred this image so that our work with the various sharpen filters will be more noticeable.

Figure 12.26
The original image (12file03).

Apply the Filter+Sharpen+Sharpen filter and notice how it comes into focus (see Figure 12.27). Try the Sharpen Edges and More filter also (see Figures 12.28 and 12.29). These are great for adjusting slightly out of focus photographs or scans, but don't rely on these filters too much. They can only do so much. They can't add what is totally missing from the image--namely, focus and good contrast. They can, however, help.

Figure 12.27
Sharpen.

Figure 12.28
Sharpen Edges.

Figure 12.29
Sharpen More.

The Unsharp Mask option is probably your best bet for precision work (see Figure 12.30). It enables you to really control the sharpness of an image. Set the amount for the level of sharpening you need (see Figure 12.31). The radius control sets how far from each pixel the effect is applied. I suggest that you keep this one fairly low--around 2.0. The threshold setting controls how much alike pixels must be to be sharpened. The lower the setting the more similar pixels have to be. The higher the setting the greater Photoshop's tolerance of difference. Of course, as always, feel free to go wild and try all of the settings (see Figure 12.32). That is the best way to learn.

Figure 12.30
The Unsharp Filter dialog box.

Figure 12.31
Amount 250, Radius 2, Threshold 10.

Figure 12.32
Amount 500, Radius 20, Threshold 50.


NOTE: Photoshop filters aren't restricted to Photoshop. Other Adobe products, such as PageMaker and Illustrator, can use them also. Even Macromedia's Director can employ certain Photoshop filters.

The Distort Filters

Now we are getting into some of my favorite filters--the Distort filters. I use these all of the time. I think that they are absolutely fantastic. With these filters and a little imagination...who knows?

Open file 12file04 from the CD-ROM and follow along in this section as we explore the distort filters (see Figure 12.33).

Figure 12.33
The original image used in this section.

The Diffuse Glow Filter

The first filter we will take a look at is the Diffuse Glow filter. This creates a glow that blends into the image. Hard to say why it is in the Distort family of filters, but it is cool nevertheless.

The controls are as follows: Graininess, Glow Amount, and Clear Amount (see Figure 12.34).

Figure 12.34
The Diffuse Glow dialog box.

For realism, I suggest keeping the graininess setting low. The higher the greater the graininess. Try to balance the Glow Amount and Clear Amount. In Figure 12.35, I used the following settings:

Figure 12.35
Image with the Diffuse Glow applied.


NOTE: Try the Diffuse Glow effect with text for a cool X-Files effect.

The Glass and Ocean Ripple Filters

I decided to lump the discussion of these two filters together because of the similar effects they can have on an image. They both create displacements that make the image seem as if it is being seen through glass or water.

The Glass filter offers you a greater amount of control. You are able to select type of texture, such as frosty, tiny lens, or canvas, and you also may load a texture of your own. Just select Load Texture from the drop-down menu at the bottom of the dialog box (see Figure 12.36).

Figure 12.36
The Glass filter.

Use the Smoothness slider to increase the fluidity of the image. Keeping the Distortion low and the Smoothness high will create a subtle effect. Try the opposite for a much more distorted image (see Figure 12.37).

Figure 12.37
The application of the Glass filter.

The Invert button at the bottom of the dialog box replaces the light areas of the texture with dark areas and vice versa.

The other filter I want to discuss briefly is the Ocean Ripple filter (see Figure 12.38). It creates an effect that makes your image appear as though it is under water (see Figure 12.39). It is an effective filter, and easier to use than the Glass filter. It think that its two settings, Ripple Size and Magnitude, make it a much easier filter to use. Depending on what you want to achieve you might even want to use this filter instead of the Glass one, but if you want more control, definitely use the Glass filter.

Figure 12.38
The Ocean Ripple filter.

Figure 12.39
The Ocean Ripple filter applied.

The Pinch Filter

This is a great filter for use with photographic touch up. It is almost always necessary to use a marquee selection with this filter, because, usually, you will need to pinch together certain elements in an image, not the entire image.

1. Drag a marquee over the toes of the shoes.

2. Apply the Pinch filter.

Keep an eye on the grid provided at the bottom of the Pinch dialog box as you drag the Amount slider higher or lower (see Figure 12.40). It can give you a good indication (as can the Preview box) of what is going on in the image.

Figure 12.40
The Pinch filter.

This is a tough filter, but a good one to have in your bag of tricks. It can be very useful on occasion, but don't try to force it. If it doesn't look right, try something else.

Figure 12.41
The Pinch filter applied to the toes of the shoes.

Also, you can use a negative amount in the Amount slider to great a swell instead of a pinch. And if this doesn't satisfy your needs, try the Spherize filter.

The Shear Filter

You can tell a great deal about most filters just by their names, but this isn't one of them. The Shear filter warps images vertically. Click and drag the line in the Shear dialog box (see Figure 12.42). Watch the preview. You also can add more control points on the curve by clicking it at different areas. These control points are like joints. They enable you to re-direct the motion of the curve.

Figure 12.42
The Shear filter dialog box.

Here are the results of the results of the Shear filter (see Figure 12.43). This effect would be great for creating animated GIFs for web sites. For more information on web work, see Day 14.

Figure 12.43
The Shear filter applied.

The Spherize Filter

This is the filter that lends itself to certain abuses. It is the opposite of the Pinch filter. With this guy, you can bulge out the center of an image. In the wrong hands, well... We'll use this filter on Day 14 to create 3-D buttons for the web.

For now, however, if you will open the figure that we have been working with in this section, 12file04, we'll see what we can do with the Spherize filter (see Figure 12.44).

Figure 12.44
The Spherize filter.

Note at the bottom of the dialog box is a drop-down menu that enables you to change the effect so that it is applied horizontally or vertically (see Figure 12.45).

Figure 12.45
The Spherize filter applied.

Like I said, we will revisit this one on Day 14, because it is a great one for creating buttons (and other items) that have a 3-D look and feel. Use it in conjunction with the Lighting Effects filter to polish that effect.

The Twirl Filter

The Twirl filter does precisely what its name suggests--it spins an image. You can control the amount of spin with the slider within the dialog box (see Figure 12.46).

Figure 12.46
The Twirl filter dialog box.

This is a great filter for creating special effects. So far, I have not found very many subtle uses for this filter, but if you can, go to it. It creates wonderful, kaleidoscopic effects as shown in Figure 12.47.

Figure 12.47
The Twirl filter applied.

Stylize

The Stylize filter family offers some wonderful effects. They are very creative and offer final effects or touches to an image. In this section, we will touch on the most interesting of the filters, the Find Edges, Glowing Edges filter, and the Wind filter. Figure 12.48 shows the image we'll experiment with in this section.

Figure 12.48
The original image.

The Find Edges Filter

This filter by itself is not of much use. It offers no control. You select the command, and there is no ensuing dialog box, only an effect (see Figure 12.49). However, this filter can be the starting point for a number of effects. For example, after finding the edges, try inverting the image with Select+Invert. Also, try using some of the Artistic filters. See Day 7 for more information on the Artistic filters.

Figure 12.49
The effects of the Find Edges filter.

Or, of course, if you like the effect, just go with this one as is. Also try the Trace Contour filter for a similar effect.

The Glowing Edges Filter

Here is a truly incredible filter. It can take your image and turn it into a fantastic web of neon in seconds, work that would take you or me...considerably longer.

Control how much edge you get with the top slider (see Figure 12.50). The higher you set it the wider your lines will be. In this example, I used a setting of 3. For me, it produced the best results.

Figure 12.50
The Glowing Edges filter.

The Edge Brightness slider controls brightness of the edges that Photoshop defines. Set it high to get the spider web fine sort of lines as you can see in Figure 12.51. Here I set this slider to 12.

Figure 12.51
The Glowing Edges filter applied.

Smoothness defines the number of edges that Photoshop sees. Set it high to get more edges out of an image. In this example, I set the Smoothness to 12 also.

The Wind Filter

The Wind filter creates a neat directional blur that looks, strangely enough, like wind. You can control the direction and the amount of wind in the dialog box (see Figure 12.52). This is a great filter for creating the illusion of movement as shown in Figure 12.53.


NOTE: You might want to try using the Wind filter to create interesting animated GIFs for web pages. See Day 14 for more information.

Remember to use selections to govern where and to what extent the Wind filter, as with all filters, it is applied.

Figure 12.52
The Wind filter dialog box.

Figure 12.53
The Wind filter applied.

The Noise, Pixelate, and Texture Filters

Finally, I would like to discuss the Noise, Pixelate, and Texture filter families. I have lumped these filter families under one heading because I would like to discuss them in more general terms and cover one from each family specifically.

If you can think of it this way, these filter families all create related effects. They don't radically distort your image (though they can make it unrecognizable in large doses), they don't twist or turn your images, they add subtle effects, which can be a very nice change from the gamut we have run up to now.

The Noise Filters

The Noise filters add graininess and imperfections to images that sometimes in the world of digital clarity are a little too real. That is, except for the Despeckle filter, which does precisely the opposite, but is handily located in the same family.

If you will open the file 12file06 from the CD, you can follow along as we add some dust and scratches to an otherwise pristine digital image (see Figure 12.54).

Figure 12.54
The original image.

The Add Noise filter can be used to fix small patches in images (see Figure 12.55). It sort of blurs problems into a comfortably vague mixture. But in our version, we have applied it to the entire image (see Figure 12.56).

Figure 12.55
The Add Noise filter.

Figure 12.56
The Add Noise filter applied.

I recommend using the Uniform Distribution. The Gaussian Distribution tends to be overwhelming.

Try undoing the Noise filter (or Reverting if you made another move before hitting the Undo command), and let's give the Dust & Scratches filter a shot.

For this filter, keep the radius low (1 or 2). Otherwise, everything runs together, and the subtly of the effect is lost (see Figure 12.57).

Keep the Threshold at 0 or 1 for the best results. That way, the values for all of the pixels in an image are considered, and you will see a change. Set it higher than 10 or 20 and you most likely won't see a change in your image.

Figure 12.57
With the Dust & Scratches filter applied.


The Pixelate Filters

Let us now turn our attention to the Pixelate filters. These filters create great textured effects, and can be used to create cool, if less than realistic effects--but realism is not the goal here (which raises the question, what would the great artists, such as Picasso have thought about filters and Photoshop). These filters also can be used to create some of the most ghastly and, frankly, ugly effects. So it's a fine line. Let your own artistic sensibilities be your guide. I'll shut up.

If you will open the file 12file07 from the CD, we can begin our discussion of the various Pixelate filters (see Figure 12.58).

Figure 12.58
The original figure.

Now select the Filter+Pixelate+Crystallize. This filter takes pixel colors and turns them into general areas of color called cells. The higher you set the cell count, the larger the cells become. Above a setting of about 20 this filter loses most of its usefulness and things begin to have that Atari (circa 1982) blocky look (see Figure 12.59).

Figure 12.59
The Crystallize filter.

Here is our camel with a Crystallize setting of 4 (see Figure 12.60).

Figure 12.60
Setting of 4.

Here is the camel with the Crystallize slider set to 24 (see Figure 12.61).

Figure 12.61
Setting of 24.

Notice how he has become pretty much unrecognizable? You might then wonder why did the software engineers (long may they code) at Adobe have added a functionality that enables you to set the Crystallize all the way to 300?

Simple. Filters are meant to work together (not always, but often). To go into this is a little beyond the scope of this book, but if you've gotten this far you should be ready to make some decisions on your own. The Crystallize filter set to 24 doesn't offer much, but try hitting it with the Stylize+Glowing Edges filter (see Figure 12.62). I suggest that as you finish this chapter, don't shut things down. Go back. Try other filters that we didn't discuss, and try them in conjunction with other filters. You'll probably end up with a mess, but don't be discouraged. Hit Edit+Undo and try something else.

Figure 12.62
The Glowing Edges filter applied after the Crystallize filter.

Most of the other filters in the Pixelate family do something very near to what we have done with the Crystallize filter--they break your image up into pieces, or pixels, large or small.

The one other filter that does do some cool stuff is one that we took a brief look at on Day 4. It is the Color Halftone filter (see Figure 12.63). This filter breaks the colors down to their dot halftone values. You can control their radius and their angle. This is a really neat effect when employed in collages to deconstruct a portion of an image.

Figure 12.63
The Color Halftone filter dialog box.

Try making a selection in your image. Use the Polygon Lasso tool and select the upper part of your image. Now select Filter+Pixelate+Color Halftone. Set the radius to the smallest value permitted--4. Click OK (see Figure 12.64).

Figure 12.64
The Color Halftone effect.

The Texture Filters

A number of the Texture filters are very similar to those that fall within the Pixelate and Noise filter families. Stained Glass is much like Crystallize, Grain is much like Noise, and Mosaic Tiles is similar to Craquelure a filter found within the Texture family itself.

Please open the file 12file08 from the CD and we will explore this last filter family.

The first filter that we will examine is the one called Craquelure. Its dialog box is represented in Figure 12.65, and by now this sort of thing should look fairly familiar to you.

Figure 12.65
The Craquelure dialog box.

In the dialog box, you can set the spacing, depth, and brightness of the cracks. The effect turns out to look like age and wear and tear have taken their toll on our picture (see Figure 12.66). You might want to experiment with adding the effect of Dust & Scratches to your image.

Figure 12.66
The Craquelure effect.

A similar but, in my opinion, more elegant effect is that of the Patchwork filter (see Figure 12.67). It creates a tiled appearance from your image. This is really a fantastic effect and can be used to create incredible finished products.

Figure 12.67
The Patchwork dialog box.

Set the size of your tiles in the dialog box. The Relief slider sets the texture. The lower the number, the smoother the tiles. The higher you set the Relief number, the more uneven the tiles will appear (see Figure 12.68).

Figure 12.68
The Patchwork effect.

Summary

There you have it, a general overview of some of the filters. There are more. Use these as a base, and explore the others. Mix and match. Add one filter and then apply another over top of it.

Filters can save you time and add enormously cool effects to your images. Don't forget to check out companies like Xaos (pronounced Chaos) and Alien Skin, just to name a couple, that offer third-party filters.

So, as my all-wise editor told me as I worked on this book, "Filters are meant to be played with." Indeed, I couldn't agree more. Go to it. Use your imagination to tap the power of Photoshop.

See you tomorrow.


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