The effect of destruction in Photoshop. Big encyclopedia of oil and gas. Greenhouse Effect - Ozone Depletion

Since the near explosion zone is considered here, which in turn is divided into zones of characteristic effects, which are identified as successively developing foci of seismic vibrations, we analyze the main features of these zones. In addition to the zone of elastic seismic vibrations, all others are characterized by the formation of cracks, i.e. violation of the continuity of rocks.
The volume and degree of fracture and, consequently, the intensity of crack formation, both towards the free surface and deep into the massif, is determined by the volumetric energy density attracted by the elastic-plastic stress wave in different parts of the seismic emitter (the source of the explosion).
It is known that seismic radiation is determined by the rate of development of cracks in the destroyed part of the massif, the rate of development of which is not more than 0.38 Cp with a relatively large oscillation period. The paper notes that the meaning of engineering measures to control the action of the explosion and increase the efficiency of energy use BB is to reduce the radius of the seismic emitter focus and to more evenly distribute the energy concentrated within it, increase the rate of crack development and reduce the time of crack exit to the outcrop surface.
With an increase in the crack growth rate and an increase in their number, the initial seismic impulse also decreases. The most intensive crack development as a result of the advancement of the seismic front is observed at a distance of (0.5-0.6) ro. Along with the advancement of the front, the parameters of seismic vibrations in the zone of their primary formation decrease, the fraction of energy attracted due to unloading in the area of \u200b\u200bthe seismic emitter focus decreases, and as a result, the seismic effect decreases.
The development of cracks is determined by the type of rock destruction: brittle, ductile and brittle-ductile. With brittle fracture, the cracks are oriented perpendicular to the action of normal tensile stresses. Viscous fracture is characterized by the displacement of particles along slip platforms oriented along the directions of the action of tangential stresses, but the rate of crack formation is much higher than the rate of development of plastic deformations.

Two points of view on the cracking process are known. According to S.D. The process of crack development goes through three stages for Volkov (Fig. 3.4):
- nucleation and slow development of foci of fissure formation;
- accelerated cracking;
- cracking at a constant speed.
Acad. S.G. Avershin, the process of destruction of brittle media is a chain reaction, i.e. cracking rate is growing dramatically. Such a representation is fully consistent with the concept of the fractal nature of destruction with the formation of an attractor in the form of a bifurcation branching, i.e. similarly to the Kaylee “tree”, where the applied load on the medium with defects is redirected (shifted) from the defect where the cracks have grown together to the defects where it has not happened yet, and the branching takes the form of a chain reaction. Stresses do not have time to relax and the phenomenon is similar to the creep phenomenon.
The distribution of stresses and strains in this case, according to the theory of catastrophes, is probabilistic, and in magnitude they can even be lower than the rock's ultimate tensile strength. In this case, the rate of cracking will apparently depend on the number of possible foci of crack nucleation.
If we assume that in the closed volume V there are no centers of crack formation, then during the time dt they “wake up” nodt under the action of the load Fo. For various reasons, they will not all grow, i.e. Among the total mass of defects no, there are active and passive ones, the former give cracks with a speed vtr, and the latter break off growth. The probability of encountering active cracks is:

Pa \u003d nt / no, and passive Pп \u003d 1-Pa.

According to V.A. Padukova, we have:

where f and q are the coefficients characterizing the branching and formation of cracking chains; no is the initial concentration of the crack centers; nt is the concentration of active foci.
Integrating (3.3) and making the transformations, we obtain:

It is clear that the rate of crack formation will be proportional to the concentration of the centers of crack initiation:

where k is the coefficient of proportionality.
We perform a qualitative analysis (3.4 and 3.5), highlighting three cases.
1. f Ra, or nt tends to the limit nо / (q-f), then the cracking rate will be equal to:

2. For f \u003d q and Pa \u003d Pп, dnt / dt \u003d no, i.e. nt \u003d not and, therefore, Vtp \u003d knot.
This is fully consistent with the energy theory of destruction, when the efficiency of destruction depends not only on the magnitude of the stresses, but also on the amount of energy transferred to the array in a certain time, i.e. this is the exposure time of the load. This also does not contradict the theory of disasters and the kinetic theory of S.N. Zhurkova.
3. For f\u003e q, we have:

Here, the rate of crack formation increases according to the exponential law, i.e. in the form of a chain reaction like a rock strike.
Changes in the rates of crack development and the rate of crack formation in ores and apatite-nepheline rocks showed that the velocities across the bedding were 200-300 m / s, and along the length 300-800 m / s, and the time of the process of crack formation of the site was:

T \u003d (0.6 / 3) W ms,

where W is the resistance on the sole, and the speed is:

vtr \u003d 300-1600 m / s.

Measurement of Cp in the massif showed that it is 1000-4200 m / s, which means that the crack growth rate is about 0.38 Cp.
Recognized criteria for seismic hazard are particle displacement velocity V and seismic wave stress σ. Ho according to Ya.I. Zeitlin they are effective only for a limited range of explosion power, because it is obvious that at the same reduced distances at the same speed, the danger from a more powerful explosion will be the same with a less powerful one. Ho, this is not confirmed by practice.
The disadvantage of the criteria V and σ is that they do not take into account the duration of the blast wave or take into account the time in the wrong proportion.
Specific energy can be defined as:

where ρСр is the acoustic rigidity of the medium; V is the displacement rate.
A phase with a maximum amplitude is distinguished on the seismogram, on both sides of which the displacement intensity rapidly decreases, but in the region of the maximum, more than 50% of the total wave energy is contained.
When considering plastic deformations, it should be taken into account that residual deformations add up, which may be the physical basis for softening, since the appearance of new foci of weakening, defects, and microcracks is a manifestation of residual deformations. This means that during sequential multiple loading they accumulate, which implies that the energy of the pulses must be taken into account not only in the region of the peak value, but wherever they can cause plastic deformations.
It is known that the critical speed for statistical action is less than for dynamic. Taking into account the fact that longitudinal waves prevail in the nearest zone, the action of which can be considered quasistatic, then the energy will be:

where A is the power of the explosion; τ is the characteristic time of energy input, after which further supply at the same level will not lead to an increase in danger.
In rock formations, τ is approximately estimated at 1 ms; in this case, most of the seismic waves in such rocks will be quasistatic, and then the criteria Vmax and σ are effective criteria, meaning that the energy of damage to the rocks is very small. For seismic waves, it is enough when stresses are reached in a wave of critical values. Ho peak stresses are not always a hazard criterion and depend on the moment of explosion. ME AND. Zeitlin believes that the critical value of a destructive seismic wave for medium-strength rock formations is εcr (J / m2) of about 20,000.

In this tutorial, you will learn how to create a powerful emotional composition with a decay effect using some brushes, layer styles, and adjustment layers.

Preview of the final result:

Step 1.

We start by creating a new document in Photoshop (Ctrl + N or File-New). You can choose your document size, but the main thing is that it is positioned vertically and has a transparent background (Transparent). I used a size of 1600x2322 px with a resolution of 72 px / inch.

Step 2

Choose one high-quality image of the cloudy sky from the presented images and open it in Photoshop (Ctrl + O). You can also combine several images of the sky and make them one background for composition, as I did.

Make sure that your sky is quite dark and dramatic, since it is such an atmosphere that will combine well with other elements of this scene.

Step 3

The next step is very important, since we must choose the main character of the composition, which is in the spotlight. I used the model from the resource Fotolia, you can choose a similar image on other drains (SXC, IStock). The main thing is that in the image of your hero there are strong emotions. Open the image of a young man in Photoshop and extract it from the background with the Pen tool (Pen Tool (P)) . Select the outline around the hero (Ctrl + Enter), then copy (Ctrl + C)  and insert (Ctrl + V)  him in the main document above the background layer.

Step 4

Download the spray brushes from the resources of the lesson and load them into the program through the menu Edit-Manage sets-Brushes -Download ... (Edit-Preset Manager-Brushes-Load ...). Select Eraser (Eraser tool)  and set up the brush we need from the spray set in the settings panel (F5 or Window-Brushes). In the section "Brush print shape" (Brush Tip Shape)  set the interval (Spacing)  25%, then draw an eraser over the hero’s legs, erasing part of them.

Step 5

Now, I would like to change the color of the hero’s clothes. Select Lasso Tool (lasso tool (L))   and highlight the t-shirt and open leg areas. Then, create the “Gradient Map” adjustment layer. (click on the black and white circle icon at the bottom of the layers panel and select from the menu - Gradient Map). You can also change the color of clothes using the “Selective color correction” adjustment layer. (Selective Color)This is a choice. We use a color gradient map from rich yellow to light yellow.

Change the blending mode of this layer to Color (Color). Try to avoid fluorescent (poisonous)  colors, choose the shades that are present in the background of the composition.

Step 6

Next, select Brush (Brush Tool (B))   from a set with splashes. Create a new layer. (Ctrl + Shift + N)  and draw on it the spray color of a T-shirt young men (orange)rising up from him. Also, using these brushes, we will draw on a separate layer the splashes falling from the hero’s head down. Here we use the hair color of the guy (use the brush to hold Alt to take a color swatch (Eyedropper tool activation (Eydropper Tool)) ) .

For the spray falling from the trousers, we use the gray-blue color of the jeans. We draw spray from trousers in different directions. The result is a kind of destruction effect.

Step 7

There are many ways to give the hero the impression of insanity and obsession. Personally, I prefer adding red veins to the arms, neck and face, as well as darkening the eyes and mouth using a brush (Brush)  small black with mixing mode (Blend mode)  Soft light (Soft light).

  We draw veins with a brush on a separate layer. (Ctrl + Shift + N).

Step 8

In this step, I created a thin pendant on the neck of a young man. Its position at the top is determined by the moment the hero jumps. Paint the pendant with a brush (Brush)  small size. I used a tablet for this purpose.

Step 9

Now let's give the suspension a supernatural look. To do this, add a semblance of wave radiation around the suspension. On a new layer (Ctrl + Shift + N)  use a soft round brush (Brush)  white on top of the pendant. Then, Eraser (Eraser)  with a smaller soft brush, the middle of the previous spot, leaving only the edges of the white circle. Open layer styles (click on the Add Layer Style icon at the bottom of the layers panel)  and make settings for the stamping parameter (Bevel and Emboss)  for a layer with a ring. After completing the settings, duplicate (Ctrl + J)  twice this layer. Increase duplicate sizes using Transform (Edit-Transform or Ctrl + T)so that a gradual increase in the rings on top of each other is obtained. Can lower the opacity (opacity)  duplicates, because the farther the wave rings from the suspension, the more transparent and wider they are.

Step 10

To complete work on the suspension, add rays of light on top of it. Download brushes (Brush)  rays from the lesson materials and load them into the program. On a new layer (Ctrl + Shift + N)  We use white rays coming from the center of the suspension.

Step 11

Also, using the brush of the rays, we draw the light coming out of the body of the hero. Thus, we give the impression of the liberation of some supernatural power during the process of destruction of the character.

Step 12

Now that the bulk of the work with the hero is done, we will work on the atmosphere of the composition. Create the “Gradient Map” adjustment layer. (Layer-New Adjustment Layer-Gradient Map)to make the background darker, closer in character to our character. Perform the correction settings from the screenshot below, then change the blending mode of this layer to Color (Color)  and lower the opacity (Opacity)  up to 27%.

Step 13

Step 14

Now apply a little blur to meteorites to create the effect of their approach on some of them. Select the Blur tool (Blur)  and use it only on meteorites that are closer to us. Near the youth, the stones are not washed out.
  The farther the meteorites are from the model, the more they should be blurred.

Step 15

To make the meteorites appear to be in motion, use the Finger tool (Smudge Tool)  with an intensity of 5-10%. Smears are carried out in the direction from the bottom-up from stones, imitating speed.

Step 16

To create the light falling from above, we use brushes of white rays. It is important that the rays look more intense above, and scatter closer to the body of the hero. To add magic to the picture, you can draw on a separate layer (Ctrl + Shift + N)  several small figures moving with streams of light.

Step 17

Let's get back to our hero. After we have created streams of light falling on the body of a young man, we must create a reflection from the rays of light on his body and face. Choose a soft round Brush (Brush)  white and draw along the top of the guy’s figure. Then, change the blend mode (Blend mode)  this layer to overlap (Overlay).

Step 18

Add some more rays of light around the hero with brushes (Brush)so that the image harmoniously fits into the overall plot of the composition and looks emotionally powerful.

Step 19

If you think the destruction effect is not enough, add some more particles to the hero’s body using spray brushes (Splatter Brush).

Step 20

To finish, you can enhance the contrast, colors and emphasize the bright areas of the composition using the techniques listed above. In the final, sharpen, duplicating all image layers on a new layer (Ctrl + Shift + Alt + E)

From the point of view of relations with the natural environment, mankind began a new time almost under the same sign and its entire history - the existence of human civilization remains the largest environmental problem of our time. But since ecology is the science of the relationship between species and the environment, and in this case we are more interested in one particular species - the man himself - we will leave this problem unresolved and move on to others, albeit less global, but still much more amenable to resolution .

Over the past millennia, civilization and technology have made a significant leap in their development. The appearance of human settlements has changed, the languages \u200b\u200bof antiquity have sunk into oblivion, the very appearance of the "intelligent man" has changed beyond recognition. But one thing in human life has remained unchanged: everything that civilization is able to collect in its barns, store behind high fences of special bases, shove on shelves of home cabinets and refrigerators - all this is taken from the environment. And the whole rhythm of human life, both in past eras and today, was determined by one thing - the ability to access certain natural resources.

How do pollutants of the lithosphere get into the soil? Various soil pollution, most of which are of anthropogenic nature, can be divided according to the source of entry of these pollution into the soil.

With precipitation.   Many chemical compounds (gases - sulfur and nitrogen oxides) that enter the atmosphere as a result of the work of enterprises then dissolve in droplets of atmospheric moisture and fall into the soil with precipitation.

Precipitated in the form of dust and aerosols.   Solid and liquid compounds in dry weather usually settle directly in the form of dust and aerosols.

With direct soil absorption of gaseous compounds.   In dry weather, gases can be directly absorbed by the soil, especially moist.

With plant litter.   Various harmful compounds, in any state of aggregation, are absorbed by the leaves through the stomata or settle on the surface. Then, when the leaves fall off, all of these compounds enter the soil.

Soil pollution is difficult to classify; in different sources, their division is given in different ways. If we generalize and highlight the main thing, then the following picture of soil pollution is observed:

Garbage, emissions, dumps, slop;

Heavy metals;

Pesticides;

Mycotoxins;

Radioactive substances.

There are natural resources necessary for humanity, like air. But perhaps there is no such resource, except for the air itself, the absence of which would become an insoluble problem for a person in less than a minute.

It is known that atmospheric pollution occurs mainly as a result of industry, transport, etc., which collectively throw out more than a billion solid and gaseous particles every year.

The main atmospheric pollutants today are carbon monoxide and sulfur dioxide. But, of course, we must not forget about freons, or chlorofluorocarbons. It is their majority of scientists who consider the formation of the so-called ozone holes  in the atmosphere. Freons are widely used in production and at home as refrigerants, blowing agents, solvents, as well as in aerosol containers. Namely, with a decrease in the ozone content in the upper atmosphere, doctors attribute an increase in the number of skin cancers.

It is known that atmospheric ozone is formed as a result of complex photochemical reactions under the influence of ultraviolet radiation from the sun. Although its content is small, its significance for the biosphere is enormous. Ozone, absorbing ultraviolet radiation, protects all life on earth from death. Freons, getting into the atmosphere, under the influence of solar radiation decompose into a number of compounds, of which chlorine oxide most intensively destroys ozone.

The blessed drops of rain - another gift from heaven - have always pleased man. But in some areas of the globe, rains have become a serious danger. The problem of acid rain, which was internationally raised by Sweden at the United Nations Conference on the Environment, arose and was difficult to solve. Since then, it has become one of the main environmental problems of mankind.

Acid Doges have a detrimental effect on the nature of water bodies, damage forest vegetation and crops, and finally, all these substances pose a certain danger to human life.

The third, no less important than the sky above your head and the earth under your feet, a factor in the existence of civilization is the planet’s water resources.

For its needs, mankind uses mainly fresh water. Their volume is slightly more than 2% of the hydrosphere, and the distribution of water resources around the globe is extremely uneven. In Europe and Asia, where 70% of the world's population lives, only 39% of river waters are concentrated. The total consumption of river water is increasing from year to year in all regions of the world. It is known, for example, that since the beginning of this century, freshwater consumption has increased by 6 times, and in the next few decades will increase by at least 1.5 times.

The lack of water is exacerbated by the deterioration of its quality. The waters used in industry, agriculture and in everyday life go back to reservoirs in the form of poorly treated or even untreated wastewater.

Thus, hydrosphere pollution occurs primarily as a result of the discharge of industrial, agricultural and domestic wastewater into rivers, lakes and seas. According to scientists, at the end of the twentieth century, 25 thousand cubic km may be required to dilute these same wastewater. Fresh water or almost all really accessible resources of such a runoff! It is easy to guess that it is precisely in this, and not in the growth of direct water intake, that the main cause of the exacerbation of the problem of fresh water is.

Currently, many rivers — the Rhine, Danube, Seine, Ohio, Volga, Dnieper, Dniester, etc. — are among the highly polluted. The pollution of the world's oceans is growing. Moreover, not only pollution by runoff plays a significant role here, but also the ingress of a large amount of oil products into the waters of the seas and oceans (Fig. 6.). In general, the most polluted inland seas - the Mediterranean, Northern, Baltic, Inland Japanese, Java, as well as the Biscay, Persian and Mexican bays.

In addition, a person carries out the transformation of hydrosphere waters through the construction of hydraulic structures, in particular reservoirs. Large reservoirs and canals have a serious negative impact on the environment: they change the regime of groundwater in the coastal strip, affect soils and plant communities, in the end, large areas of fertile land occupy their water areas.

Changing his world, a person, whether he wants it or not, significantly intervenes in the life of his neighbors on the planet. According to the International Union for Conservation of Nature, since 1600, 94 species of birds and 63 species of mammals have died out on Earth. In addition, rare insects decrease in number and disappear, which is associated with both the reaction to the use of various kinds of pesticides and the destruction of their indigenous habitats.

The mechanism of death of a species is much simpler than it could be imagined. Zoologists realized this when they were able to analyze a large number of unsuccessful cases of acclimatization of animals in the land, of course, suitable for imported species. It turned out that the delivery of small groups of animals ended in failure. It turned out that 2-3 pairs of animals in the absence of constant, even relatively rare contacts with their own kind, can not inhabit the territory. In most cases, their ability to reproduce is suppressed or they die from the so-called “stress”, or tension disease. A similar situation occurs with a large discharge of the natural population. It is completely unnecessary to destroy all animals to doom in order to doom a species of extinction, to sufficiently reduce its number, to reduce or separate the habitats, in which mankind, especially in recent centuries, is notably succeeding.

the greenhouse effect

When a few decades ago, scientists seriously started talking about the manifestation of the greenhouse effect on our planet - their statements were taken seriously, except perhaps by a narrow circle of the same scientists. The events of recent years: the unheard-of heat in North America and on the European continent, which caused a sharp deterioration in the health of even healthy people, numerous heart attacks and heat strokes, burn-out of crops from droughts and numerous floods, hurricanes and storms - not in words, but in fact convinced us in the opposite. This sad reality is no longer forecasts, but news reports ... The average temperature on our planet is + 15 degrees, it is maintained at the expense of the greenhouse effect. It was thanks to him that the conditions were created for the emergence of life on Earth (without this phenomenon the temperature would be -15). As you know, the absorption of infrared rays in the atmosphere occurs due to carbon dioxide, as a result - heat is generated and a comfortable environment for the animal and plant world is created. So, the more carbon dioxide - the more heat. With each new step of the technogenic development of civilization, mankind is rapidly destroying the harmony created by nature, using two reliable methods for this: increasing production capacity and mass destruction of forests. According to the UN, in thirty years this will lead to an increase in the general temperature background of the planet - by 3 degrees. It would seem - a little. It would seem that this will not affect us yet ... Yet - or already? 30 years is only a third of a person’s life ... So far it’s a third ... Should we be optimistic, or are we more like an ostrich hiding its head in the sand? If the current trend lasts, then already in 2050 the amount of carbon dioxide in the planet’s atmosphere will increase by 2 times. For peak temperatures, growth will be from 4.5 to 5.5 degrees. This will cause the melting of glaciers in the mountains, which, in turn, will increase the level of the world's oceans by one and a half meters! As a result, the coastal zones will be exposed to catastrophes and storms, the circulation of precipitation will change (according to scientists, they can be reduced to 40%!), Which will cause catastrophic losses in yield and population migration deep into the mainland ... All this is no longer predictions, but the reality of the near future . It is already impossible to completely stop the global warming process - humanity has gone too far! Now even those who did not want to hear about it are forced to make concessions to their native home - planet Earth. Industrial governments annually review their capabilities and sign agreements to reduce air emissions. A good example is Japan, which in 2010 implemented a government program for citizens to buy green electric vehicles.

However, not everything inspires joy. A fact to think about: in the refrigerators and air conditioners that are already in our homes, there are so many chlorofluorocarbons that even if you could completely stop the entire production, we would have enough harmful emissions for a long time, and we would hardly feel the effect !

Ozone layer depletion

The ozone layer is located in the stratosphere at an altitude of 12 to 50 km (the highest density at an altitude of about 23 km). And, despite the fact that the concentration of ozone in the atmosphere is less than 0.0001%, the ozone layer completely absorbs short-wave ultraviolet radiation that is harmful to all living things. For a long time, the ozone layer was rapidly depleted due to human activities. Here are the main reasons for its thinning: 1) During the launch of space rockets in the ozone layer, holes are literally “burned out”. And contrary to the old opinion that they immediately tighten, these holes exist for quite some time. 2) Aircraft flying at altitudes of 12-16 km. 3) Emission of freons into the atmosphere. Destruction of the ozone layer by freons. The main reason for the destruction of the ozone layer is chlorine and its hydrogen compounds. A huge amount of chlorine enters the atmosphere, primarily from the decomposition of freons. Freons are gases that do not enter any chemical at the surface of the planet. reactions. Freons boil and quickly increase their volume at room temperature, and therefore are good sprayers. Because of this feature, freons have long been used in the manufacture of aerosols. And since, when expanding, freons are cooled, they are still very widely used in the refrigeration industry. When freons rise into the upper atmosphere, a chlorine atom is split off from them under the influence of ultraviolet radiation, which begins to transform ozone molecules into oxygen one by one. Chlorine can be in the atmosphere for up to 120 years, and during this time it can destroy up to 100 thousand ozone molecules. In the 80s, the world community began to take measures to reduce the production of freons. In September 1987, 23 leading countries of the world signed a convention, according to which, by 1999, countries should have halved consumption of freons. In September 1987, 23 leading countries of the world signed a convention, according to which, by 1999, countries should have halved consumption of freons. A propane-butane mixture is almost found to be a substitute for freons in aerosols. Such aerosols are already widely used. For refrigeration units things are a little worse. Ammonia is now the best substitute for freons, but it is very toxic and still significantly worse than their physical. parameters. Now, good results have been achieved in the search for new substitutes, but so far the problem has not been completely resolved. Thanks to the joint efforts of the world community, the production of freons has more than halved over the past decades, but their use is still ongoing and, according to scientists, at least another 50 years must pass before the ozone layer stabilizes.

Matt painting plays an important role in today's films. The first matte paint was made in 1907 by Norman Don and you can now see how the traditional matte paint of that time evolved from The Wizard of Oz to the world-famous film Avatar.

Mat painting  (Matte Painting) - these are large-scale hand-drawn images used in cinema, television and in the production of computer games to create an illusion of the environment in the frame, which for some reason cannot be captured in kind or reproduced using material scenery.

The main task of specialists in Matte Painting is the photorealism of the resulting images so that they are organically combined with full-scale shooting.

Step 1. Like any project, large-scale hand-drawn images need a pre-drawn sketch. I made such a sketch. For the convenience of working with the lesson, I numbered the buildings.

Step 2. Here is a photograph that fits our sketch perfectly. Open it in Photoshop and remove the clouds using the Magic Wand Tool.

Step 3. We need to achieve the effect of devastation, complete chaos, but with green foliage on the trees this will not work. Therefore, select the Lasso Tool and select all the green areas at the bottom of the photo (trees, grass, leaves, etc.). Set the Feather Radius to 60. Then change the curves to approximately as in the example:

  (click to enlarge)

Step 4. In this step you must decide which part of the building you would like to destroy. To do this, using the Lasso Tool, select a fragment of the building. Then erase the edges using the Erase Tool.

Step 5. Then, darken the building using the Burn Tool with a rust brush, the link to which is at the beginning of the lesson.

Step 6. Now we need to gut the buildings a bit. Let us follow the sequence, and adhere to the numbering of buildings in our outline. I found the second image from the list of resources suitable for building B1 on a sketch. Cut out part of the building.

Step 7. Now insert this piece into matte paint and fit it to fit our building, too. Select Free Transform from the Edit menu, hold down the Ctrl key and drag the corners of the transformable area so that part of the inserted building fits in perspective with our image:

Step 8. After you fit the fragment under our building, duplicate the layer and substitute it in the missing sections. It is necessary to achieve a neat connection of fragments and fill all the gaps. Then merge these layers with a keyboard shortcut (Ctrl + E).

Step 9. Now adjust the Curves: Red 150, Green 122, Blue 95.

Step 10. Then, we simulate the destruction by the method that we used in steps 4 and 5. We will return to this layer a little later.

Step 11. Let's get to the second B2 building. Choose a suitable photo, I took for example Destroyed Building 2. Now, repeat the steps from step 7. Pay attention to the prospect, try not to mix anything up.

Step 12. Go to the exposure settings through the menu Image - Correction - Exposure (Image - Adjustments - Exposure).
Set the following values:
Exposure: -0.63
Offset: +0.0061
Gamma Correction: 0.94.

Step 14. Change the exposure settings again:
Exposure: -1.22
Offset: 0
Gamma Correction: 1.00.
Then select the Burn Tool and, using your imagination, try to make the building look old and destroyed.

Step 15. Do the same with the rest of the buildings. The main rule is to observe the perspective and light / shadow and then you will not ruin anything. Here is a brief outline of my actions.