Rainy Window Photo Effect
Hand it a photograph and it takes the picture again through a wet window — where each drop holds a small upside-down copy of what is behind it, sharp, while the scene itself goes soft. Two fields.
We made two examples, from two different photographs: a daylight street with a bus and shopfronts, and a fairground at night. The night one is the proof: a drop on black sky has no colour behind it to borrow, and it still comes back full of lights.
Each drop works as a tiny lens and shows a piece of the scene, like the ferris wheel or the red bus, even when it sits on a plain background. The blur behind the glass is uneven: at night it is properly soft, with big discs where the bulbs are, while by day it can stay almost sharp. Choose a scene with point lights in it if you want the full effect.
Generated for this library
Input
On glass fat separate drops across the whole pane,
with two rivulets running down the left
In the the red of the bus, so the drops in front of
drops it each hold a small upside-down red block
Photograph street.png (1254 x 1254)
Returned 1 image · 1:1 · the street through a wet window
drops each carries a small sharp picture of the
street rather than a sample of the colour
under it - drops on grey tarmac hold the
red of the bus and the pale shopfronts
inversion visible, but not confirmed by measurement
focus softer than the photograph, though less so
than the body asks for
rivulets two down the left, streaking vertically
words none, in any scriptYou fill in 2 fields — the braced lines at the top. Everything below them is fixed.
- 1What is on the glass
- 2The one thing behind that should be recognisable inside the drops
Rainy Window Photo Effect
What this makes
Hand it a photograph and it takes the picture again through a wet window — where each drop holds a small upside-down copy of what is behind it, sharp, while the scene itself goes soft. Two fields.
The whole template, in one piece. The steps below are the entire workflow.
How to use it
- Copy the whole template with the button above.
- Attach the photograph and paste the template in the same message.
- Replace the two FIELDS lines. Name the thing inside the drops by its colour and shape, not by what it is.
- Zoom into one drop. It should hold a small, sharp, upside-down piece of the scene behind it — not a blurred sample of the colour it is sitting on.
- Check the scene behind. If it is still sharp, the run put droplets on top of a photograph rather than photographing through them.
What you swap
- What is on the glass
- fat separate drops across the whole pane, with two rivulets running down the left
- The one thing behind that should be recognisable inside the drops
- the red of the bus, so the drops in front of it each hold a small upside-down red block
Before it runs
- A photograph, attached to the message. This re-photographs a particular scene through glass, so there has to be a picture of it.
- Something behind the glass with a strong, simple shape or colour. Whatever goes inside the drops is only a few pixels across, so a busy scene arrives inside them as mud.
- A pattern of water you have decided. 'Rainy' produces a texture; 'fat separate drops with two rivulets down the left' produces a photograph.
- Acceptance that the scene goes soft. The camera can be focused on the glass or on the street, and this focuses on the glass.
When to reach for it
When a picture needs weather and a mood without leaving the subject behind: a cover, a title card, a poster, a moody frame for a feed. Templates in this genre ask for rain on glass and hand back a photograph with blurry blobs stuck on it, because the one thing a drop actually does is never stated.
What changes
- One photograph in, one taken through wet glass out — same scene, seen through water.
- Each drop carries a small inverted image of what is behind it, in focus, because a drop is a lens.
- The scene itself falls out of focus, since the camera is focused on the glass and not on the street.
- Runs of water invert in one direction only, so they streak the scene sideways instead of upside down.
- One image, no droplet-overlay texture, no border, no filter.
Pairs with
- Foggy Photo EffectHand it a photograph and it takes the picture again in fog — where contrast falls away by the same fraction every few paces, so the near thing keeps every bit of its own and the far thing is simply gone. Two fields.
- Backlit Silhouette EffectHand it a photograph and it comes back as a cut silhouette lit from behind — no interior anywhere, so every part that has to be recognised must reach the edge and show itself against the light. Two fields.
- Chalkboard Drawing EffectHand it a photograph and it comes back drawn in chalk on a black board — where the darkest thing in the picture is bare board, because chalk adds light and there is no way to draw a dark line. Two fields.