Follow Part 1 of this tutorial
11: Add headlight effects
Make a slightly feathered selection of the headlights and add a Hue/Saturation adjustment layer. Activate the Colorize option, set Saturation at around 40 and Lightness at 20. Hue settings are dependant on the vehicle. From here, double-click the adjustment layer to open the Layer Styles options. Applying both Outer and Inner Glow blending options, we can create the desired radiance with the various slider options. To create the flare, we can simply paint with a star-shaped brush and apply a slight Blur filter to soften the edges.
12: The digital paint booth
As the SLS paint is a silver colour, we’re able to easily change it to a tone of our choice. However, first we need to create a new selection with the paint isolated. Use the correct Group mask to make your selection, edit out anything that isn’t going to change colour – namely the windscreen and lights. Next create a layer and fill it with the new colour, in this case a sample of the factory available red. Change this layer’s blending mode to Color and apply any adjustment layers needed to fine tune the settings.
13: Replicate burnout dust
Looking to add a bit more action to the image, we can create the effect of burnout dust in a few quick steps. This is where our second additional file comes into play. With a photo of smoke against a black background, drag the file into the correct position and change the blending mode to Screen to leave only the smoke. Apply a mask to the layer and manually brush out any unnecessary smoke to achieve the desired look.
14: Bleed the light
Now that we have created our dusty smoke trail coming from the vehicles, we can add some more light play towards the front of the image to bring balance. Revisiting the background folder, create a new layer at the top of the Group layer stack to ensure your light will only affect the background elements. Using a large soft-edged brush, paint a single white brushstroke. With the Free Transform tool we can adjust the light flare as needed to alter the effect.
15: Edge-lighting the vehicles
With the added light flare, we now have to create the bleeding-light effect on both the vehicles to tie everything together. As we did before, we’ll create two new layers for painting in each car group, again ensuring we’re only affecting specific layers. Using a white soft-edged brush, we’ll paint along the edges of both vehicles to create the bleeding-light effect. We can transform and warp the paint as needed, tweak the opacity or change the blending mode to either Overlay or Softlight for increased contrast.
16: Add lens flares
When light bleeds into a lens directly from a light source, lens flaring will often occur. With the added light flare in the upper-right of the image, we can easily use the Lens Flare filter to add this effect to the image. Making a group at the top of everything, create a new layer, fill this with 50% grey (Shift+F5) and change the blending mode to Overlay. This gives us an invisible layer that we can apply the Lens Filter to and not alter any pixels below.
17: Make global adjustments
With the image nearing completion, we’ve come full circle and once again will do another round of global adjustments. As we are looking to finish the entire image, make sure these adjustments are done on top of all the other layers and groups. Use Selective Color once again to complete the bulk of the work. Add contrast in the sky by applying black to the blues and cyans. Additionally, removing black from white is a good method for pulling out textures, such as the road surface or clouds.
18: Sharpen the result
To finish, we want to sharpen our flattened and cropped image before saving. In addition to the Unsharp Mask filter, we can run a High Pass filter. Duplicate the final flattened layer, go to Filter>Other>High Pass. The Radius used is relative to the file size, or simply the desired effect. Change this layer’s blending mode to either Soft Light, Hard Light, or Vivid Light. All three slightly vary in effect, so test to see which suits best. We can also reduce the opacity of the layer to soften the image if necessary.