Hi. This is Marty from Blue Lightning TV. I’m going to show you how to create the look of hand-tinted, vintage photos from contemporary photos. This is an update of tutorials I’ve done on
earlier versions of Photoshop. This update is for versions CC and later. Before we begin, if you’re not already a
subscriber to Blue Lightning TV, hit that small “Subscribe” button at the lower
right to let you know as soon as I upload new Photoshop tutorials. I provided this film texture that we’ll be
using in this tutorial. Its link is in my video’s description below
the video or in my project files. Open a photo that you’d like to use for this project. I downloaded this one and the others from Shutterstock. We’ll place our photo onto the film texture. If your Move Tool isn’t active, press “v”
on your keyboard and drag your photo onto the tab of the film texture. Without releasing your mouse or pen, drag
it down and release. To resize and position it, open your Transform Tool by pressing Ctrl or Cmd + T. Go to a corner. If you’re using a version earlier than CC 2019, press and hold Alt or Option + Shift as you drag it in or out. If you’re using CC 2019 or later, just press
Alt or Option as you drag it. To reposition it, go inside and drag it. When you’re happy with its size and position,
press Enter or Return. If your photo is larger than the film texture, there will be areas extending past our visible window. We’ll crop off those areas to save file size
and to ensure that the filters that we’ll be adding, won’t factor in areas that extend
beyond our window. To crop it, press Ctrl or Cmd + A to select
the window and go to Image and Crop. Then, deselect it by pressing Ctrl or Cmd + D. Make a copy of the layer by pressing Ctrl or Cmd + J. Go to Filter, Blur and Gaussian Blur. Make the Radius: 5 pixels. Next, we’ll reveal back the sharpness in the center. To do this, click the Layer Mask icon to make
layer mask next to the copy. Open your Brush Tool and Brush Picker. Pick a soft, round brush. We’ll adjust its size in a moment. Its Hardness is 0% and its Opacity and Flow are both 100%. To adjust the brush’s size, make sure your
CapsLock key is off and press the left or right bracket key on your keyboard. Make it approximately this size and left-click. We’ll convert our image into a Smart Object,
so we can modify it nondestructively. To do this, Shift-click the bottom subject
layer to make it active, as well and click the icon at the upper, right. Click “Convert to Smart Object”. Go to Filter and “Camera Raw Filter”. Click the “Effects” icon. Make the Grain amount: 80, the Size: 100 and
the Roughness: 60. Make the “Post Crop Vignetting” Amount: minus
100, the Midpoint: 40, the Roundness: 0, the Feather: 100 and the Highlights: 100. Click the Adjustment Layer icon and click
“Vibrance”. Make the Vibrance: minus 50. Open the Adjustments panel. If you don’t see it, go to Window and Adjustments. Click the “Black White” Adjustments icon. Drag the Reds and the Yellows to 300 each. Change the Blend Mode to Difference and reduce
its opacity to 15%. Click the lock icon next to the film texture
background to unlock it. We’ll jump the layer to the top of the Layers panel by pressing Ctrl or Cmd + the right bracket key three times. Change its Blend Mode to “Lighten”. Lastly, we’ll add an overall sepia tone. Click the Adjustment Layer icon and click
“Color Balance”. In the Midtones, make the Cyan/Red: 20 and
the Yellow/Blue: minus 20. This is Marty from Blue Lightning TV. Thanks for watching!
Like & Subscribe Our channal Final Output Sample Image PNG text image Background image if want to use any of this images Link is in Description so feel free to use it ! Go to the File and select New I already crop this image from Sample images To crop Model Image So select your fourth number tool which is quick selection tool Want to make Brush Bigger than use You [ ] kyes you can use Q key to see how many part of you selected after the selection is done then go and select refine edge option which is on up side. So it will allow you to make edges really softer. then go to Your Main Tab. And Past Your Selected Photo Just Like That Make Copy Of this Layar ( Ctrl+J ) Just Like That After that go To Orange Background Tab Press Ctrl+A to select All And after use Ctrl+C to make Copy of it! and Paste it on this tab. (Ctrl+v) to adjust this Use Shift+Alt Make the main Layer on Top of this Orange Layer select marquee tools which is hear select rectangular marquee too and draw it like this create new Blank Layer make copy of it The Select marquee tools and draw In selected marquee area fill it with color by selecting paint bucket Select White Colour and fill it Now again Repeat same process for lower part now we want lower part of orange background over the model’s leg area for that you can select from here or also select from there tab. for that select Quick Selection Tool Go the the orange image tab. and select their lower part by using Quick selection Tools Select it and make Copy and paste it on the main tab. and set now again do the same process of marquee tool and fill it with the White
Oh lovely, turn your head tiny bit towards me, chin down beautiful, turn your right hand in a bit cause it’s facing, no, the other hand, left hand in soft, soft, soft , yes, lovely. You know that feeling when you look at a photo and you’re likethat’s the one, that’s the feeling I look
for, for everything, like for my dresses the clothes, the models, everything, I’m always
looking for like, that feeling lovely, I Iove that, beautiful I think creativity is about tapping into
the things that make us unique. It’s a combination of our interests
strengths and passions that create the uncommon. If we can find a way to bring
those things together, that’s special. My work, if anything, is unique to me because it’s these many threads of my life that come together to weave a tapestry and that’s the magic you want to hold on to. I’m Bella Kotak and I’m an artist. I think it’s a very English thing where you have like a dress-up box and all
your clothes go and then you can make all these characters up and I think when it
comes to my photo shoots I try and, I think that’s, that’s what I do,
I play dress-up. So, the first concept that we did was in
this beautiful venue called the Lost Orangery. I often say I’m a fine art
fashion photographer but really, I simply love to create these little worlds where I get to curate, assemble and capture a story. For this first shoot I wanted to
go with a very whimsical fairytale vibe so I decided to make a giant butterfly
from newspaper actually. So to go with the butterfly, I decided to use a soft floral whimsical dress. I thought that together, there was a beautiful visual. It’s the ideas and sketches in my notebook, knowing the models I like to work with, the props, the flowers, having clothing from designers on hand. It’s like a palette of paints, these are the bits and pieces that I bring together to create something and the act of taking a photo although incredibly important is just
one part of the process. Many of my shoots are very structured
and planned however others are more spontaneous. It’s not unlikely for me to
get a creative itch and call a model, put her makeup on, grab a bunch of stuff and go for a drive around and see what happens. I still like working like that. I want to
keep this fun and exciting, so it can be unplanned and casual and happen organically if I choose. It’s very important for me to keep myself as free
as possible to create. Yeah, we got it, we got it, you’re a vision, vision. So for day two we actually went and
shot at a local woodland, and I’ve created some of my most magical images in that place. So I want this to be a young guy, kind of growing up. I shoot a lot of women, like
girls blooming into womanhood Isaac is at that age, it’s like blooming into
manhood. And I thought it would be really interesting to see
how I would interpret that. That’s the concept for today. When I’m shooting I’m always looking for that one shot, if I come away with many, great, but I’m always looking at a location
thinking where’s the story and in that story where’s the hero shot. Taking photos for me is an escape, it always has been. In my previous career where I opted for
a more traditional path as an architect I became quite unhappy and unfulfilled,
but ironically, as an architect I needed to learn Photoshop
which in turn led me to photography. So we had all these flowers as I knew we would and I wanted to shoot a picture that was inspired by these beautiful floral paintings of women just floating in flowers by Zhang Hao. So I wondered what it would look like
if I interpreted that into an image of my own where I controlled exactly the flow
of her body and movements and we’d place the flowers around her
as if it felt like she was emerging from this world into this
beautiful character. And it was this artistic outlet that would take me away from my unhappiness. And so I want every image to take the viewer somewhere, to experience that escapism to some degree. If taking the photo is one step in my
creative process and the planning and curating is another post-production is
definitely where it all comes together. Photoshop led me to photography,
it’s my first love. Editing is where I can enhance the feeling I had on set or bring together the original vision. I feel so fortunate to have found the
path I’m on right now. Too often I hold myself back in parts of
my life but photography is the exception I’m not weighed down by thoughts of
failure, I take chances and I push my boundaries. I think if you can find something in life
that you can fully immerse yourself in, not hold back and be honest with who you are, then you’re on the right path . I’m Bella Kotak and I’m an artist.
I love the possibilities that we can create through stories. For an independent filmmaker to get into Sundance is a huge thrust. The odds are incredibly long. It could mean the world of difference in how your film is seen, in how far it’s reach is. Sundance is always changing, using everything that Adobe has and everything that we have in some ways they keep us fresher because they’re on the edge of technology. So it’s a partnership. Because all the Adobe programs know each other and speak to each other, it makes my work faster. Premiere – it’s just a little more intuitive. There is something that just feels like it was built for the user. So with Premiere, I could just pop into After Effects anytime. We try to do a lot of it all at once. The kind of division of labor that exists in other programs kind of drives me crazy. I choose Premiere Pro because of the ease of the interface. There’s a real lack of rigidity in the software. It just becomes an extension of my hands. I can’t tell you exactly why I like Premiere. That’s like an intangible thing. It just makes sense with my brain. If you’re really experienced it’s not gonna hold you back. I can only expect that it’s gonna become the most dominant NLE out there. Using all the Adobe tools, low budget doesn’t look low budget any longer. It always gets back to the story. People can make images all day long. So what’s gonna make you stand out? It has to be your heart, your unique experience, the color of your soul.
Lady: Oh my god! Justin Jedlica: Let’s get married.
Pixee: I found you finally! You’re my soulmate. COMM: 26-year-old Pixee Fox is one of the world’s most famous plastic surgery addicts.
But her journey to becoming a real-life Barbie has been without a real-life Ken. Until now. COMM: The new man in her life is none other than surgery legend, Justin Jedlica. Pixee
and 35-year-old Justin have undergone more than 450 cosmetic procedures between them. PIXEE FOX: It’s fun to just play around with your body.
JUSTIN JEDLICA: It’s like a world of possibilities to be able to like design your own body, just
people do their clothes. PIXEE: FOX: You have to have like a creative
mind JUSTIN JEDLICA: I do, I definitely look at
it like my art. PIXEE FOX: I removed 6 ribs, did lipo on inner and outer thighs.
JUSTIN JEDLICA: I’ve done the chest implants, my shoulders front, middle, back, four surgeries.
I did biceps 3 times now. I have 16 pieces of plastic in me.
PIXEE FOX: I have my eye colour changed, I have eye lash transplant, done my nose 3 times,
fillers in my lips. I’ve done my boobs 4 times, Brazilian butt lift. COMM: Although they’re not romantically attached, the pair are happy to have found
one another, as both of their love lives have suffered in their pursuit of their perfect
bodies. Pixee has been single for a while and Justin is finalising his divorce from
his husband of three years. PIXEE FOX: We’re both single. It’s so hard finding someone, it’s not like it’s
hard… JUSTIN JEDLICA: To get the attention, just
hard to find somebody who actually is willing to like, who’s interested in that type of
a lifestyle. Because what we are really is kind of a lifestyle.
PIXEE FOX: Yeah, we are a lifestyle. Like people see us, and then they don’t really
like realise… JUSTIN JEDLICA: The commitment that it takes
to look like that. PIXEE FOX: Yeah, there is a lot of people
who come up to us and they are like super attracted to us, but then when we say we have
plastic surgery then they get like, “Oh, well I don’t want that.”
JUSTIN JEDLICA: Well, they don’t want you to talk about it. COMM: Although they’re just friends, they have each other and have vowed to live as the
real-life Barbie and Ken. But what’s the verdict on the Las Vegas strip? Lady: You’re Barbie and Ken! Pixee Fox: Yes!
Lady: My god I love you guys! Lady 2: Oh my god! Oh my god! Let me take
a picture, my best friend is gonna freak out! Do you goys not know who these people are?
No, they’re not pornstars! Oh my god! Lady: You guys are awesome! Pixee Fox: Oh thank you.
Justin Jedlica: Thank you so much. Lady 2: Baby you look good here, I’m trying
to be like that for next year’s summer, okay? Pixee Fox: We’ve been walking up and down the strip and it’s…
Justin Jedlica: It’s been insane! Pixee Fox: Pretty crazy, everyone‘s coming
up and like, “There’s Barbie and Ken”. So, that’s pretty fun.
Justin Jedlica: Yeah. Pixee Fox: We actually do resemble Barbie and Ken. Justin Jedlica: I guess, it wasn’t intentional, right? But… Pixee Fox: No.
Justin Jedlica: But the fact that we found each other. it’s like a pretty cool, it’s
like Pixee and Justin take over the world! We’re Ken and Barbie. Girl: It’s crazy, but I feel like it’s your body and you feel the necessity to change
it, to make yourself happy, then go for it. Lady: I don’t want to do it like that, it’s
not that beautiful. Lady 2: I think it’s very unhealthy to have
that much plastic surgery, I think there is something wrong in their brain!
Pixee Fox: Let’s get married! Justin Jedlica: Let’s get married!
Pixee Fox: I found you finally! You’re my soul mate. It’s the start of something spectacular.
Justin Jedlica: It’s definitely the start of a beautiful relationship.
Pixee Fox: Yeah! Justin Jedlica: Together!
Pixee Fox: Plastic love.
TIM FRIEDE: I will not stop doing this until the vaccine is in the field, or I die. 00:15
COMM: Over the last 16 years without a real lab or funding Tim Friede has set himself
the mission of developing a vaccine against some of the world’s deadliest venomous snakes,
using himself as a human guinea pig. 00:30
TIM FRIEDE: Black Mamba. You can never ever have a bad day, and that’s why my focus
is so strong and so intense. Because if you do have a bad day, do your math wrong, your
injections are off; you get bit – you are done, that’s it. 00:45
TIM FRIEDE: Two bites. Nice. 00:48
COMM: It’s an obsession that has cost him his marriage and could cost him his life. 00:53
BETH FRIEDE: Me and the kids never came in first, sometimes not even second. 00:56
TIM FRIEDE: Everything has taken a back seat to it. I wish I was not selfish with it. 01:01
TIM FRIEDE: Thanks for watching. 01:05
COMM: Today Tim plans to take consecutive bites from 2 deadly venomous snakes to prove
the strength of his immune system. 01:14
TIM FRIEDE: You have not put me under any problems. Everything I am doing is on my own.
I am signing off on it. If I die, bury me. Piece of cake. 01:27
TIM FRIEDE: Black Mamba. 01:38
TIM FRIEDE: PNG Taipan. 01:43
TIM FRIEDE: You can already see the swelling and more blood than usual. I love it. I love
it. Love it. 01:59
TIM FRIEDE: Arms are killing me right now. I mean it’s a throbbing sensation. It’s
just boom, boom, boom, boom. 02:09
TIM FRIEDE: It has been 20 minutes since I have taken a black mamba bite and a taipan
bite back to back, and I feel great. Minus the swelling which is extreme. Right now I
am the only person in the world that can do what you just saw. I don’t think there’s
anybody that’s gonna meet a black bite and taipan bite back to back. Let alone either
one of them. And I don’t say that arrogantly, I say it confidently. 02:36
COMM: At his home in Wisconsin, Tim has been injecting himself with controlled doses of
venom over the last 16 years to build up an immunity to snake bites. He hopes his experiments
in self-immunisation will lead to the development of a vaccine. And he has been sharing his
results with a scientist who specialises in immunology. 02:56
TIM FRIEDE: My relationship is with Dr. Brain Hanley. I don’t have a degree so it’s
nice to have someone that does to represent the cause academia wise. 03:06
BRAIN HANLEY: I tend to like people who get out and do something hard against the odds.
The more I found out, the more interesting he was. Here’s a guy with a high school
education, who self-taught himself some pretty sophisticated immunology and microbiology. 03:19
TIM FRIEDE: It’s as simple as this, if you are in Africa, whatever country you are in
with let’s say mambas, and you take a controlled dose of venom through time and dilute it down,
and you work your way up to a certain amount of venom to create a tighter level for antibodies,
IGG. You can walk out of your hut, get bit, go back to work and not die. It’s as simple
as that. 03:42
BRAIN HANLEY: A good scientist doesn’t argue with empirical results. Arguing with Tim’s
results it’s like arguing with the sky being blue. It needs work but it’s real, and it
fits what we know about immunology. There is no conflict there. 03:54
TIM FRIEDE: Dr. Hanley and I hope we can take what I do and publish it and have other physicians,
clinicians take it out to the world to self-immunise other people in the world. Anywhere in the
world where people die from snake bites, that’s the number one goal. 04:07
BRAIN HANLEY: Doing without a lab or funding, there are definitely limits to that. Things
like this, you know, you work on it, you work on it, you work on it, you work on it, and
then maybe the right people will see it, and it will catch fire, you never know. I’d
like to help him accomplish that. 04:24
COMM: But Tim’s experiments haven’t been without great personal cost. One injection
of monocle cobra venom caused necrosis in his leg, and he had to self-amputate the muscle.
And that’s not all. 04:38
TIM FRIEDE: I made a big mistake back in 2011 and took 2 cobra bites; took one fine, took
another one, and flat lined ICUE. Because it was so bad it’s really cool to be at
this stage and beat that scary thing. Big mistake, but sometimes when you make those
mistakes you have to come back, and get through them, and do this, which was the best thing
that ever happened. 05:04
TIM FRIEDE: What’s up, buddy? 05:06
COMM: Perhaps the biggest cost has been the breakup of his marriage, and the damage to
his relationship with his family. 05:12
BETH FRIEDE: You ever feel like though you pushed too hard? 05:14
TIM FRIEDE: Oh yeah. I pushed hardly hard. I pushed myself to death, literally. 05:19
BETH FRIEDE: You also pushed your family away. 05:21
TIM FRIEDE: I did. But that’s 3 people versus millions, and millions, and millions, and
BETH FRIEDE: I know you want to save lives, and I understand that, and I know that’s
your priority. I always wished though that we came before the snakes. 05:35
TIM FRIEDE: I wish it did too. 05:36
COMM: Despite the risks and what it’s cost him, Tim doesn’t plan on stopping. 05:42
TIM FRIEDE: Everything will be worth it if we can develop a vaccine ‘cause people will
be saved. And that’s the reason I approve it and that’s the reason I do it.
BRUCE PASCAL: The collection today is worth well in excess of a million dollars. I insure it, I protect it and I enjoy it. COMM: On the East Coast of the United States lives the King of Hot Wheels. BRUCE PASCAL: I was 7 years old when my parents came home with a Hot Wheel. I was hooked.
I collected them as a young kid and it was amazing. BRUCE PASCAL: I currently have about 3,500 Hot Wheels in my collection. Just come into
my room and sit back and look at pieces of history of the most famous toy car. COMM: Included in Bruce’s collection is the most valuable Hot Wheels vehicle in the
world, worth a whooping $150,000. BRUCE PASCAL: Most valuable Hot Wheel in the world is called the Pink Rear-Loader Beach
Bomb and what’s unique about this car is that this was the first the attempt at Mattel
to make a Volkswagen VW bus. And when they made it, they put the surf boards on the back
side, they put a small sun roof on the top of the car and then this Pink Rear-Loader
Beach Bomb was one of the only two made in the colour pink, which was an attempt to sell
toy cars to girls. It didn’t do too well, because boys bought them, smashed them with
their hammers, and today this is the finest example and the most beautiful Pink Rear-Loader
Beach Bomb there is. COMM: And Bruce hasn’t stopped at just collecting the toy cars. BRUCE PASCAL: At my old house, I had a small office that I never really paid much attention
to. But I realised how much time I spent in my office with my Hot Wheels hobby. I decided
when I moved to a new home, I hooked with a great architect and I said, ‘Design me
an office that looks like the residence of Mattel in 1970.’ And this way I can come
in and just enjoy every single evening, looking at 1,100 Redline Hot Wheels on one wall and
cases holding another 2,000 cars made at later days. So, for me, it’s exciting to go into
a Hot Wheels room that looks like a real Hot Wheels room. It’s incredibly important for
me to preserve the history of Hot Wheels. And it’s kind of funny, because I think
I have more items related to the original production in my house than Mattel does in
its entire factory. My dream one day would be to build a museum. To talk about the greatest
boy’s toy of all the time, and I wouldn’t mind splitting it up with other collectors
with the Barbie doll. Why? It’s very simple. Elliot Handler was the founder of Hot Wheels.
His wife, Ruth Handler, worked at the same company and she was his partner. She invented
the Barbie doll in 1958. Imagine that, a married couple where the wife created the number one
girl’s toy in the history of the world and the husband invented the number one boy’s
toy in the history of the world. BRUCE PASCAL: Well, I must say when you tell friends that you collect Hot Wheels, you don’t
get the same reaction as when you tell them you collect art work, or you collect cars
or you collect baseball cards. One of my goals in life is to elevate the hobby so you get
the same level of appreciation. But many people look at me with bewilderment and say, “You
collect those toy cars that I played with when I was a kid myself?” And I proudly
answer, “Yes, I do”.