Photo composites often require several Photoshop tools and techniques to achieve a desired effect. In this tutorial we will combine several photos to create a statue from a photo of a model.
How to Create an Emotional, Molten, Shattered Statue in Photoshop
We will then explain how modify the statue to create cracks, and molten rock using layer masks, adjustments, and several blending and painting techniques. Let’s get started!
The following assets were used during the production of this tutorial. (Some stocks have been updated to workable links as well).
- 10 Tillable Grunge Crack Textures
- Muddy Texture Pack
- Debris #1
- Liquid #1
- Liquid #2
- Liquid #3
- 4 Broken Glass Textures
- Cracked Peeling Paint Textures
1. How to Set Up The Manipulation
Let’s begin by creating our document. We will work on a 1:1, 3.700 pixels canvas, using RGB Color at 300 Pixels/Inch.
Add the main model stock photo to the canvas. Press Enter to place it and name this layer “model”.
Use the Magic Wand Tool (W) with less than 20 pixels of Tolerance, and click on the light blue background to select it. Shift-click to select multiple background areas to add them to the selection.
Zoom In and Shift-click on the small background areas between her fingers, face and arms.
Invert the Selection by going to Select > Inverse or by pressing Control-Shift-I. On the top horizontal Tool Menu bar, click on Refine Edge (with the Magic Wand still selected). Use the following settings to enhance the selection and get smooth edges.
Click on the Brush icon on this window, and paint over certain areas, like the hair behind the neck. After painting the selection will be refined using the values we entered in the Refine Edge dialog box.
Repeat this process over the following areas:
Click OK when you are done. Click on the Add New Layer Mask at the bottom of the Layers Palette to make the model image background disappear, but preserving the original image in case we need to add changes later.
Again at the bottom of the Layers Palette, click on the Add New Adjustment Layer icon and select Black & White.
Be sure this layer is above the “model” one and use the Default preset.
Use the Move Tool (V) to drag down the girl.
2. How to Apply Texture to the Model
Drag a stock similar to Texture #1 to the canvas.
Rotate it 90º to the right. Hold Shift key to get an accurate result.
Press Enter and name this layer “texture1”. Set the Blending Mode to Hard Light to blend it with the girl.
Control-click on the mask of the “model” layer to load its selection.
Then press the Add New Layer Mask having “texture1” selected, so this layer will have the same shape as the girl.
Click on the Layer icon (not on the mask), and go to Image > Adjustments > Levels or press Control-L. Decrease the contrast by dragging both black and whites to the Midtone area.
Now we will use the Brush Tool (B) over the Layer Mask to Delete some parts we don’t want anymore. All over this tutorial, use always 0% Hardness brushes on all tools. Select black color to paint on the layer mask over the eyes, using these settings in your brush:
Paint also over some fingers, so the texture won’t look like pasted over them.
For the same reason paint over her breast.
And on the junction of the arms and her back. Delete also some darker spots on her belly area.
Paint over the shoulder so the texture disappears almost completely.
Refine the head by Deleting completely the texture above the ear and refining the eye area if needed.
Select the Burn Tool (O) in Highlights Range mode and paint over the shoulder area on the “texture1” layer to darken it a bit.
Repeat this process over the zones depicted below. This way we are deleting some brighter spots that could make our subject to look dirtier than it really should. Also, we are adapting the natural body shadows to the texture.
Add a stock for a texture similar to this image to the canvas. Name it “texture2”.
Set the Blending Mode to Linear Light and the Opacity to 40%.
As we did with the first texture, Control-click on the “model” layer’s mask to load the selection and Add a New Mask on this texture layer to get the girl’s shape.
Use the Brush Tool (B) with the color black to paint over the highlights of the model over the “texture2” layer mask.
Do the same in other areas just almost as we did with the other texture. Erase texture between body parts junctions. Remember to paint over the fingers, the hair, belly and shoulder.
3. How to Add Cracks to the Sculpture
Add a stock like Crack #1 to the canvas.
Resize it, holding Shift key to keep the aspect ratio, and place it above the head, set the Blending Mode to Multiply and name this layer “crack1”.
Go to Edit > Free Transform (Control-T) and Rotate a bit the layer to the right. Press Enter when you are done.
Press Control-L for Levels and use the following settings:
Control-click the “model” layer’s mask to load its selection and add a new Layer Mask to the “crack1” layer.
Use a small black brush to paint over some fingers as we are usually doing in this tutorial, to blend the texture. Erase also the edges of the layer.
Add another crack texture. Name the layer “crack2”.
Switch to Multiply Blending Mode, to preserve only the dark tones of this layer.
Press Control-T for Free Transform and Rotate/Place this layer as follows:
Control-click “model” layer’s mask to load the selection and Add a New Layer Mask on the crack layer.
Press Control-L for Levels and raise Highlights and Shadows.
On the Mask, use the Brush Tool (B) to Delete the upper edge of the layer, with black color picked. Delete also the arm area and leave only the crack on her belly.
Add the third crack texture stock to the canvas, set the Blending Mode to Multiply and name it just “crack3”.
Place it leaving the darker central area (the missing piece spot) above her hand, using Free Transform (Control-T) and resizing the image.
As usual, load the selection of the “model” layer’s mask to mask this new layer.
Use a big, soft brush to Delete the bottom zones of this layer.
Brush over the hair as well, deleting it completely, leaving visible only the face and hands area.
On the layer (not the mask) press Control-L for Levels and raise the Highlights:
Keep on masking to blend the front and the palms.
Add another texture stock to the canvas, set the Blending Mode to Multiply and name it “texture3”.
Press Control-T for Free Transform and resize it (holding Shift key to keep the aspect ratio) and rotate it to the left, placing the texture over her arm.
Press Control-L to set new Levels. Raise the Highlights.
As usual, load the “model” layer mask selection and mask this layer. Also, Delete the breast and the back, leaving only texture over her arm.
4. How to Paint Cracks Onto the Sculpture
Create a new layer by pressing Control-Shift-N above them all and name it “cracks painting”. Select the Brush Tool (B) and press F5 to display the Brush Options panel. Check Shape Dynamics and use these settings (this will be only useful if you are using a pen tablet, otherwise skip this step: we want to control the pressure of our brush to make more intuitive and natural strokes when painting).
Select the white color, a small, soft brush, and start painting with careful strokes over the edges of the cracks above her ear.
Keep in mind that the light source is coming from the top-right, so you will have to paint the cracks’ edges likewise. Use a bigger brush with less Opacity to paint the stone pieces created by the cracks.
Repeat this process over the cracks on the fingers. Remember not to paint above the very cracks (the dark lines).
And don’t forget to paint over the cracked area on her belly. You are free to give different volumes to the cracked pieces, but remember to follow the light direction. Switch to black color to paint the opposite shadows using the same way, because this part is further from the light focus than the ones we painted before.
Still with black color, we are going to add more volume to the hands’ area. We are going to paint over the missing stone piece to make it look deeper, but we are going also to bring down some cracked areas of the fingers. Guide yourself by the set of screenshots below:
So far, our image should look more or less like this at this point:
Go to Filter > Blur > Gaussian Blur and apply it on this painting layer.
As you might notice, this will make our strokes subtler and more homogene.
Go to “model” layer and grab the Pen Tool (P). We are going to create a path to select the lower area of the skull. Select the Path mode on the Options Menu Bar. Click and drag your mouse to adapt the path to the shape we want to get. Once you have created it, click on the first point you created to close the path.
Right-click and select Make Selection:
Fill this area with black on the layer mask and do the same with any layers that have pixel information on that part until it looks completely white.
Go to “texture2” layer and delete the face area on its layer mask.
Grab another texture image and add it to the canvas. Name it “texture4”.
Set the Blending Mode to Overlay, 48% Opacity. Mask this layer to give it the model’s shape by Control-clicking “Model” layer’s mask and applying the selection with a mask on this layer.
Adjust the Levels by pressing Control-L.
5. How to Add More Cracks and Shatter to the Sculpture
Add another crack stock. Name it “crack4”.
Set the Blending Mode to Multiply.
Adjust the Levels (Control-L) raising the Highlights.
Press Control-T for Free Transform, rotate and place this layer as follows:
Add a New Layer Mask and use the Brush Tool (B) to delete the black parts over the head and the subtle texture between the cracks:
To adapt the quality of this photo to the overall feeling of this image, go to Filter > Blur > Gaussian Blur to adjust the sharpness:
Press Control-U for Hue/Saturation to bring down the Lightness of this layer.
Add a broken glass stock photo to the canvas, below the “model” layer. Name it “crack5”.
Use the Color Burn Blending Mode instead of Multiply this time, to preserve total blacks.
Eliminate Highlights as usual in Levels (Control-L).
Use Free Transform (Control-T) to Rotate and place this layer as follows:
Use the Eraser Tool (E) to Delete the texture between the crack lines.
Add the Debris stock image. Name this layer “debris”.
Set the Blending Mode to Screen:
Press Control-T for Free Transform, Rotate the layer to the left, make it smaller (hold Shift key to keep the aspect ratio) and place it above the head. We are going to add some explosions over there.
Go to Levels (Control-L) and use these settings:
Add a New Layer Mask and erase this layer so it looks like this, using the Brush Tool (B), black color selected.
Duplicate this layer (Control-J) and change the Blending Mode to Multiply.
Press Control-I to Invert the color of this layer. Now we have a copy of the debris but in dark tones. Place it below the original debris layer and delete on the mask the areas of debris over her head:
Use a very small brush, with white color selected (to restore what’s been masked before), to paint over the tiny particles of debris that are half-erased, restoring their original volume.
Guide yourself using the screenshot below, paint the debris particles, taking special care not to paint outside of them. Avoid leaving half-eased particles: delete them completely or restore them: as you wish.
Let’s add some movement by going to Filter > Blur > Motion Blur:
Add another Debris stock photo behind the model, name it “debris2” and set the Blending Mode to Multiply.
Use Free Transform (Control-T) to Rotate it to the left and resize it, leaving it behind the shoulder, like if it were exploding.
Add a New Layer Mask and use the Brush Tool (B) to fade a bit the debris coming from the shoulder.
Duplicate this layer (Control-J) and send its layer mask to the bin. Drag this layer above everything else and place it as follows, by Free Transforming it (Control-T).
Set Multiply Blending Mode.
Go to Edit > Transform > Flip Vertical and drag downwards this layer. Add a New Layer Mask and as we did with the previous layer, fade a bit the debris so it ends up looking like is coming down from the elbow.
Again, Duplicate Layer (Control-J) and Delete its layer mask. Place it above the hand and rotate it so it looks as follows:
Set the Blending Mode to Multiply.
Duplicate (again) the original layer (Control-J), press Control-I to Invert it.
Use the Screen Blending Mode.
Press Control-T for Free Transform, Decrease the size and rotate it, leaving the image over the head, meeting the debris we added before and avoiding to leave any particles over the face.
Add another Debris stock photo to the canvas. Name it “debris3”.
Invert colors by pressing Control-I.
Set the Blending Mode to Multiply.
Adjust Levels (Control-L) raising Shadows and Highlights, enhancing the contrast.
Press Control-T for Free Transform, and Rotate the layer 90º (hold Shift key to get an automatic Rotation of 90º degrees).
Add a New Layer Mask and use the Brush Tool (B) with black color picked to fade some areas of the flying dust, we want a subtle effect with this layer.
Duplicate this layer (Control-J) and Invert it (Control-I). Set the Blending Mode to Screen.
Control-T for Free Transform and place this layer as follows:
Repeat the process (Duplicate, Invert, Free Transform) and place it above the shoulder. Don’t forget to mask both layers to fade the dust.
We are going to add movement to all the debris layers we have added recently. Go to the first one and head to Filter > Blur > Motion Blur.
Repeat the process (using different Angles) in all the “debris” layer copies.
Add again the Debris stock pic to the canvas, behind the model.
Press Control-I to Invert it.
Set the Blending Mode to Multiply.
Use the Move Tool (V) to place the image at the top, behind the head area.
Add a New Layer Mask and use the Brush Tool (B) as usual to fade the debris, so it’s only visible near the hands and the back of the head.
6. How to Add Liquid to the Sculpture
Grab the Liquid #2 stock pic to the canvas. We will name this layer “liquid”.
Select the Magic Wand Tool (W), with 50 pixels of Tolerance, and click on the white background. Shift-click to select other white areas. Don’t uncheck Contiguous or you will end up selecting the highlights of the liquid.
Click on the Refine Edge button on the tool menu options bar and use these settings to enhance our selection and later masking. Press Enter when you are done.
We want the liquid to come from the head, heading to the left in opposite direction to the girl. Use Free Transform (Control-T) to Decrease this layer’s size (remember to hold Shift to keep the aspect ratio) and Rotate the image to the left to achieve this direction:
Check this layer’s luminosity by pressing Control-L for Levels and raising the Shadow tones.
Use the Rectangular Marquee Tool (M) to select this part:
Press Control-T and rotate it to the right, so it better follows the movement we want to achieve.
Add the Liquid #1 stock image to the canvas. We will name it “liquid2”.
We will mask this layer using the same procedure as before, so use the Magic Wand (W), holding Shift key, to select multiple white background areas. Then use Refine Edge with the same settings as before.
Place this layer as follows, using Free Transform (Control-T).
Raise the Shadows tonal range using Levels (Control-L).
Add a New Layer Mask and fade the bottom area of this layer to blend it with the head:
Add the last liquid image and name it “liquid3”.
Guess what? Yes, use the Magic Wand (W) to select the white background and use Refine Edge. This time you will need a lower value in Tolerance:
Rotate the layer to the left using Free Transform and place it above the rest of liquid layers:
Use Levels (Control-L) to raise the Shadows:
We are going to add some movement here as well. We will add Motion Blurs (Filter > Blur > Motion Blur) using different Distances and Angles in all liquid layers:
Use the Burn Tool (O) in Midtones Range mode to darken both “liquid2” and “liquid3” bottom bases, so they can blend better with the head, because it’s darker:
7. How to Add Colorful Texture to the Manipulation
Add a peeling texture stock to our document, placing it above all layers. Yes, it’s time to add some color to our composition! Name this layer “peeling”.
Resize and place it as follows:
Set the Blending Mode to Multiply.
Adjust Levels increasing the Highlights (Control-L).
Use Free Transform (Control-T) to place the peeling over the face, so we have a peeled check. Then Add a New Layer Mask and get rid of all the texture outside of the cheek:
This is the only part of the layer that should remain visible at the end. Use 100% Opacity and Flow brushes.
Use the Sponge Tool (O), in Desaturate Mode, to get rid of the yellows. Use a small brush Size.
Then switch to Blur Tool (R), 50% Strength, to Blur a bit this layer, so it won’t contrast in sharpness with the girl.
Pick a red color and create a New Layer (Control-Shift-N), name it red hand, and start painting the missing piece cracked area of the hand. The Blending Mode of this layer should be Multiply.
Take closer looks and paint with a smaller brush within the different cavities, taking care of not painting outside of this area.
Duplicate the “peeling” layer (Control-J).
Use Free Transform (Control-T) to Rotate this new layer so it looks placed like this one:
Paint on the mask so only this area on her front remains visible:
Use a Small Brush to erase here and there, so it looks more casual and not overcrowded with the red tones.
When you are done use the Blur Tool (R) as we did before to blend this layer:
Duplicate the “peeling” layer again, Delete its layers mask and use Free Transform (Control-T) to place it as follows:
Add a New Layer Mask and leave visible only this area:
Use the Blur Tool to adapt it to the face’s sharpness. Use the Sponge Tool (O) in case you need to desaturate yellow spots.
8. How to Add More Cracks to the Surface
Add another Crack stock photo to the canvas. Name this layer “crack5”.
Set the Blending Mode to Multiply.
Use Free Transform (Control-T) to place this texture over the arm:
Control-click on “model” layer’s mask to load the selection and Add a New Layer Mask to this layer.
Improve the lighting specs by going to Levels (Control-L) and use these settings:
Now we are going to delete the texture of this layer on its mask, using the Brush Tool (B) as always, leaving only the cracks, and brushing over the depicted areas below until they disappear:
Be careful not to leave any textured area, we must pay attention to the amount of dirt we leave with textures in photo manipulations like this one, using great amount of texture images.
Go to Filter > Blur > Gaussian Blur and apply it on this layer (not the mask), to adapt the level of sharpness:
A change of mind: select the “crack4” stock image, use Free Transform (Control-T) and Rotate it to the left until it looks like this:
And then just Delete pretty much everything but the area coming from the hand. At the end I though it might be a bit disturbing to have that crack grabbing so much attention.
Send it to the background by applying a Gaussian Blur (Filter > Blur > Gaussian Blur).
Some minor changes and enhancements: go to “crack2” layer and raise the Shadows here to improve its contrast.
Add a grunge texture at the very bottom of the layers order. This will be our background, so we are going to try to leave it very subtle. Name it “background”.
Set the Blending Mode to Color Burn, and Opacity near 25%.
As you can see most of the dark tones of this background are located on the bottom left corner, grabbing more attention than they deserve. Duplicate the layer (Control-J), go to Edit > Transform > Flip Horizontal. Then use the Eraser (E) to delete everything on this layer but the area depicted below.
9. How to Add Fire to the Manipulation
Grab into the canvas the Embers stock pic. Name it… “embers”. Place it above all layers.
Resize it to this size and remember to hold Shift key.
Set the Blending Mode to Screen.
Rotate the layer to the right using Free Transform (Control-T).
Use Levels (Control-L) to adjust the lighting, increasing dark tones.
Mask this layer by selecting the mask content of the “model” layer (Control-click) and loading it in a new mask on this layer, as we have done with most of them before.
We have to Delete some areas of the embers to avoid them to look pasted. Grab the Brush Tool (B) and paint over these areas, always with black color picked over the mask:
To add some realism, switch to white color and restore some tiny areas of fire outside the body, painting over them with a very small brush, so it will look like there’s some fire coming out the body. We will enhance them later.
Go to Filter > Blur > Gaussian Blur and adapt the sharpness of this layer to everything else.
Duplicate “embers” layer by pressing Control-J.
Raise even more the dark tones by going to Levels (Control-L). We want some variety of warm tones.
Grab a black brush and start masking the layer, leaving only small details here and there, like in the screenshot below:
Use the Clone Stamp Tool (S) to clone over the missing piece of the hand a big ember, that will become our composite focal point due to the contrast it will generate. Alt-click to select your clone source and then paint over the hand.
Create a New Layer (Control-Shift-N) under both embers layers and name it “embers black”. Now we will use the Brush Tool (B) to paint with black color right under the embers, so they will obtain their lost volume, due to the Blending Mode we are using. You just have to paint under the lighter tones of the embers, and you will see how the lost tones start to appear again. Also, paint with care under the little flames we allowed to come out from the body, so they get more presence.
Obviously, do the same on the missing piece area of the hand, to make the big ember pop out a bit more.
Create a New Layer (Control-Shift-N) above the embers layer and name it “embers light”. We are going to add some touches of warm reflected light on the near areas. Use the Brush Tool (B) and pick a yellow/orange color to paint over the embers. Use big, soft brushes, to keep the strokes very diffuse.
Switch the Blending Mode to Overlay.
Go to the mask in the Black & White Adjustment Layer, and select the black color to start deleting some monochrome areas, that will pop out now showing some color. Brush over her back and the left areas of the arm. You will see how a deep blue / purple tone starts to appear (it’s coming from the blue debris layers located below). This creates a good contrast between the warm tones of the fire and enhances our piece.
Mask a bit over the arm as well so we can see better the warm tones of the fire:
10. How to Change the Background
Go to the “background” layer and Invert it by pressing Control-I.
Go to Filter > Blur > Gaussian Blur and sent the background to the bottom, it will look like it’s further from our main subject, the girl.
Click on the top layer and press Control-Shift-Alt-E to Stamp All Visible Layers. This will create a new layer with all the information of this file. Name this layer “light correction”, as we will use some tips to enhance the midtones of this illustration. First of all, Press Control-Shift-U to Desaturate the layer.
Then Invert it by pressing Control-I.
Set the Blending Mode to Overlay. Now most of the image is only in Midtones range.
We will enhance that by going to Filter > Blur > Gaussian Blur and using a very big Radius, so the lighting will distribute according to the shapes of the original image.
Pick the color
#e50292, create a New Layer above them all (Control-Shift-N) and name it “difference”. Select the Paint Bucket Tool (G) and click on any area of the canvas to fill it with this color.
We will slightly tint highlights and shadows. Set the Blending Mode to Difference and decrease Opacity to 5%.
Create a New Layer again and name it “warming”. We want to create a diffuse atmosphere using warm tones that will surround the image. First of all, fill this layer with the color
#ad5411 or a similar one using the Paint Bucket Tool (G). Then switch to the Gradient Tool (G) (or just use really big, soft brushes) and select the colors in the order depicted on the screenshot below and create the following color transitions. It doesn’t have to be exactly the same.
To make it look more homogeneous, we will go to Filter > Blur > Gaussian Blur and use a big Radius.
Then set the Blending Mode to Vivid Light and Opacity to somewhere near 10%.
Add a New Adjustment Layer of Selective Color, and use these settings to improve the colors of our image, increasing the warm tones and tinting highlights and midtones:
Now our illustration seems to look cleaner.
We are going to add some tiny details to our main character. Drag another Crack stock to the canvas, and Resize / Rotate it to fit the arm, using Free Transform (Control-T) as usual. Name it ·crack6″.
Set the Blending Mode to Multiply.
Adjust the contrast by going to Levels (Control-L).
Control-click “model” layer mask to load its selection and apply it to this layer by adding a New Layer Mask.
We are going to delete on the mask some cracked areas above the breast, and we will also make the texture between cracks to disappear as we did in previous crack layers. Don’t forget to erase the edges of this layer.
Go to Filter > Blur > Gaussian Blur and apply it on the layer.
Go to “cracks painting” and use a black color to paint the volume on the right side of the triangle shaped crack using the Brush Tool (B).
Duplicate “debris2” layer (Control-J) and rotate it a bit to the right with Free Transform (Control-T).
What we want to do with this layer is to keep only some parts of the dust, and to have them as a tiny detail. Use a black brush over the mask to delete debris here and there.
We will repeat this process multiple times to add debris all over in very small doses. Duplicate the “debris2” layer again and this time, place it above the arms.
Again, paint over the mask to make disappear most of the dust. Here you can leave some dust falling down from the hands.
Repeat the whole process to add some debris coming from the shoulder.
… And duplicate “debris2” just one more final time to add some dust on the left area of the head, and outside of it.
We are going to add some missed pieces in our statue. For that matter we will delete some areas, making them look like a piece of rock has fallen from there. We will use the Pen Tool (P) in Paths Mode. Our first selection will be done in her back, behind the shoulder. This time we will create it just above an ember that simulates a shape. Create a Path imitating the shape of something rocky.
Close the path, Right-click and select Make Selection:
Then go to all the layer masks of the items that are located here and use a black brush to delete this area on all layers, one by one.
We will repeat this process in five more zones. You are free to add them anywhere you wish, here I will show where I decided to put them. The procedure is exactly the same as explained before. In case of doubts, just try to found shaped areas by the cracks and follow them to create the selection:
Go to “debris2 copy” and use the Rectangular Marquee Tool (M) to select the biggest debris spot.
Control-C to Copy it and Control-V to Paste it in a new layer that we can name “debris5”. Place this new item as follows.
Rotate it a bit using Free Transform (Control-T) so it won’t look exactly the same as the original. You might need to use the Eraser Tool (E) to delete the edges.
Duplicate this layer by pressing Control-J and place it downwards, then Rotate and/or Resize it.
11. How to Tweak the Colors
Create a New Layer and name it “blue”. Select the Gradient Tool (G) and select the Foreground to Transparent preset gradient on the Gradient Editor (access to it by clicking the gradient icon on the tools menu bar).
Pick a light blue color and create a medium Radial Gradient taking the head as the center.
Set the Blending Mode to Soft Light, Opacity to 16%. This way we are adding some contrasting color: the top half of the image was looking so monochrome in comparison to the bottom one.
Create a New Layer and name it “yellow” and select a yellow/orange tone to create a new gradient that will fill the central – bottom area.
Select Soft Light Blending Mode and 40% Opacity, to create some sort of reflecting warming light coming from the ambient light of the embers.
Click on the top layer and press Control-Shift-Alt-E to Stamp All Visible Layers. We want some atmosphere here, so go to Filter > Blur > Gaussian Blur and use these settings:
Set the Blending Mode to Screen.
Duplicate this layer (Control-J) and switch to Soft Light.
Control-click to select both layers and decrease the Opacity of both to 10%.
Create a New Layer above them all and name it “vignette”, pick any color and go to the Gradient Editor. Drag the top left arrow and place them on the opposite side of the bar, and do the same with the top right arrow. This way we will create an inverted gradient that will fill the opposite areas we select later.
Click on the center of the image and drag to any of the corners to create a vignette.
A cold tone might be the best option here. Use Hue/Saturation (Control-U) if you need to change your color.
Add a New Layer Mask and use a big brush to mask all over the girl and the nearer areas, so the dark tones of the vignette won’t affect her. Then drag the layer and place it under “light correction”.
Set the Blending Mode to Linear Burn with 30% of Opacity.
Add a New Adjustment Layer of Gradient Map, and press D key to load default black and white colors. If they don’t show in your gradient bar, just click over it and select them on the Gradient Editor.
Set the Blending Mode to Luminosity and the Opacity to 40%. This way we are enhancing the chiaroscuro of the piece, generating a more balanced light spectrum.
Add a New Layer above them all and name it “tint”. Fill it with the color
#007c72 using the Paint Bucket Tool (G).
Delete the model area on a New Layer Mask.
Set the Blending Mode to Soft Light, 20% Opacity. We’re here, already! Congrats!
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