Create Composite (blended surreal) Images in Photoshop | Derrick Mitchell | Skillshare

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Create Composite (blended surreal) Images in Photoshop

teacher avatar Derrick Mitchell, Designer | Teacher | Artist | Innovator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 16m)
    • 1. Introduction

    • 2. File Setup

    • 3. Adobe Stock and CC Libraries

    • 4. Blending Images Together

    • 5. Color Grading and Adjustment Layers

    • 6. Adding Text

    • 7. Introduction to Advanced Techniques

    • 8. Advanced Shadow Techniques

    • 9. How Subtle Details Make It Look Real

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About This Class

This course will walk you through photo compositing in Photoshop, providing you with all the assets you need to follow along with the project in real time. Learn how to:

  • Use the Adobe Stock and CC libraries
  • Effortlessly blend images together
  • Use color grading and adjustment layers
  • Add text that looks gorgeous and polished
  • Advanced shadow techniques
  • And more!

Meet Your Teacher

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Derrick Mitchell

Designer | Teacher | Artist | Innovator




Hello! My name is Derrick, and I’m so stoked to be teaching here on Skillshare!

Are you interested in making a living in the creative arts industry as a graphic designer, freelancer, videographer, photographer, or web developer?

If yes, then be sure to join me in these courses here on Skillshare as I show you what it’s like to be a graphic designer and make a living doing something that you love!

I will help you master the skills you need to become successful. I’ll show all of my processes so you can accelerate your success, while also learning from my mistakes so you don’t have to repeat them yourself and fall into the same traps that I did.

I have spent my entire career in the creative arts and market... See full profile

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1. Introduction: blending images together is one of my favorite things to do in Photoshop, and it's actually something that I get asked a lot about from my students. So in this course we're gonna be doing is creating a desktop wallpaper. Or you could easily create this for your mobile device or even something for print, like a poster whatever you want to do. But we're going to be learning how to take multiple images that don't belong together at all and how to cut them out in photo shop and put them back together in one image to create a composite. We're gonna learn tips along the way about how to create natural lighting, so everything blends well. We're gonna learn about how to cut out the images in a way that you can't even tell that it's been cut out, how to mask those images and a handful of other tips and tricks along the way. If you want to follow along, all of the images are provided in the exercise files and it's gonna be a ton of fun, so hopefully you join and we will see you on the other side 2. File Setup: So in this lesson, we're gonna create a brand new desktop wallpaper. I actually currently love the wallpaper that I have, but I've had it for a long time, so I think it's time to upgrade and make something new in fresh. So what we're gonna do, we're gonna be learning about photo compositing. So what that means is we're gonna be mashing some different photos together to make a really cool composite image when it's all said and done. So what we're gonna do is go ahead and dive right into photo shop, and I'm going to create a new document, and this is where you're gonna have to decide what size you want to make. So for making a desktop wallpaper for your computer, you need to know what your screen sizes. So one way to maybe get there quickly is to go to ah, web appear and you can see we've got some different most common Web sizes website sizes. But this just means the screen that you're viewing Ah, we can also come up to film and video, and you might be able to start with one of these templates. You could also jump into your system preferences if you're on a Mac, if you're on a PC. Unfortunately, I am not up to date with the latest update to know where to tell you to go look. So anyway, what you want to do is you want to find your display settings, and we can see what different size options we have, right? So if I click on the scale that I kind of hover, you can see down before our down below the screen. Look right here, it's gonna pop up with what those pixel dimensions are. Okay, So if I If I'm right here, I'm at 1920 by 10. 80. That's a standard HD size. Okay? And I haven't set right now because I'm recording this tutorial on my screen to look nice and big so you can see it. But if I change the more space on this four k monitor, it is going to be everything's and look super tiny, right? Very hard to see. So I'm going back to a large here. So what I'm gonna be making is a 1920 by 10 80 pixel document. All right, so let's go ahead and close this and that's actually a very standard film and video size. So in 1920 by 10 80 I can click right on that, and it's gonna change my settings here. So my wit does 1920 pixels by 10. 80 for the height. All right, so make sure you're working in pixels as well as for the resolution. So because we're working on a screen, usually 72 is fine. Ah, now, though, because we have, you know, ultra HD monitors and different things like that Retina displays. You might want to experiment with this. Maybe double it will make it 144. Ah, it's just gonna make the file size a little bit larger. And it might look a little crispier and clean, depending on what scale you're working with. All right, now, our color mode, we're gonna leave us a RGB color because we're gonna be working on a screen that this was something we're gonna be printing. You'd you seem like a color. And I go over this and much more detail in the graphic design boot camp course. But for now, we're gonna be using the RGB color mode to get started. All right, Now that we got her setting set. Let's go ahead and click on the blue. Create button down here and our new document is ready to go. All right, so your screen probably looks a little bit different than mine. So let's just go ahead and do some simple housekeeping room, come up here to the top, right? And were you click on this little icon and we're gonna come down to essentials. We'll click on essentials and they will come and click on that again and I'm gonna click Reset essentials. All right, now that you and I are looking at the same thing, I just want to point out real quick before we go too much further. At any given time, you can come appear to this little drop down and choose a different workspace, depending on the artwork or the project you're working with. And it will rearrange all of the windows for you to give you all the different panels that you're gonna need for that project. OK? And if you wanted to, you can create something totally custom by just grabbing these tabs and docking them somewhere else. However you want in whatever makes the most sense for what you're working with. You can also appeared a window. If you don't see something you're looking for, Perhaps the brushes, Mandela, and then click on that and will open the brushes window. Right. So there's a lot of ways we can create our own custom work space inside a photo shop. For now, I'm gonna come back up here to essentials. We're gonna reset that real quick and what I could have done before reset that you actually could save that, right? So, for example, I've got this photo shop 2020 live from a live teaching. I did. And all it does is it puts this navigator window up here. And that's where I overlay my video camera or my camera so you can see the video of me. My talking head. Ah, just just ah, fun. Easy way to make Photoshopped completely your own and work for you here. All right, so now that we've got this document open, we're ready to go. Let's go ahead and start dropping in our assets 3. Adobe Stock and CC Libraries: Okay, we've got our file set up, and now it's time to create our desktop wallpaper, federal shop, composite image. All right, So as we go through this, you'll be able to follow along with the assets that I provide. I'm actually gonna be grabbing them right now and putting them into the folder. But by the time you're watching this, they should be all gift wrapped for you to be able to download. So go ahead and grab those if you want to follow along and just a reminder to if you do want to follow along because this is a video, you guys come play it deposit, do some of the work and follow along. If I go too fast, there should be a place speed down below where you can slow the video down. Or you can also read. Watch it again if you get lost. And if it's too slow for you, maybe a little more advanced. You can also speed it up so I go faster. So just a reminder. Guys, you know, use use the fact that we're watching this on a video to, uh to follow along deposit to do the work into make something fun along the way. Okay. All right. So as we get going here, what we're gonna do is we're going to be gathering these photos and these assets, and what I'm gonna do is actually leverage. Ah, the creative cloud libraries to do this. So what libraries are, It's a way to gather assets and you'll see from my other graphic design course, I've got some colors that I've sampled. Some font styles, some graphics, all kinds of things. All right, so I want to start doing this for this course as well. So what I'm gonna do if you don't see this libraries panel. You should, though, because we reset our essentials workspace. But if you don't see it, what we're gonna do is come up here into the window down to libraries, and when you click on that, you'll see your libraries and down here below, I want to click the little plus sign to create a new library. I did that wrong. Uh, I'm not trying to add a new asset right now. I want to click on this twirl down. Actually, there we go down to create new library, so click on that and we're gonna name this photo shop boot camp. I could also name the specific to this project. So the Photoshopped boot camps gonna have everything that I make for this course. But maybe I want to make it just a desktop wallpaper library. As you can see, I'll go ahead and create this real quick. But as you can see, I have many, many, many libraries. And I use this for all of my clients. At any given time, I could scroll through to any one of the clients that I want to look at here and click on it and you'll see any of the assets that I've created for them. So let me, uh, as an example, Let's come down here to this tough country Bumpers. Click on that and you see about some photos of downloaded for them as well. Some assets for things that I do So also, their brand colors air in here. So any time I want to just dive right into a project and go, it's just right there for me. Here's another example. Click on Zero Dark. I've got some, uh, some images, as well as a logo that I created for them. And all I have to do is just drag and drop right into my canvas. And those assets are there for me. So that's what we're gonna do right now. Let's go grab some photos for us. I'm gonna come back to the Photoshopped boot camp library that I just created, and right above it in libraries, I can actually search for within photo shop for anything that I want. So we're going to make a composite image and I'm really feeling the ocean vibe here, and I think we're going to create. If you took the graphic design boot camp course, we made a poster that said a skilled sailor, No, a smooth sea never made a skilled sailor. Anyway, we're going to do that. So what we're gonna do is actually find a notion image, and right now it's just searching through Adobe Stock. But I know I've already downloaded this before, so I'm gonna come down toe all libraries. I'm gonna grab this image of the 40 licensed, and I'm just gonna throw it right into my canvas here. So we'll throw this in there, all right, And you'll notice that I've got a new layer above my background now and that's going to come back and search for some more. I'm also gonna want maybe some lightning, so search for lightning, and this time you'll notice nothing pops up. Well, it's because I'm still set to search for all my library. So this is only searching within the libraries that I've already created. So I'm gonna come back and change this to Adobe Stock, and now it's going to search on the actual doubly stock website, and you can see we've got some great options here. I'm gonna grab this right here. I'm gonna drag and drop it right into my canvas. And when I do that and I hit return, you'll notice, Uh, well, usually you would notice, and I don't see it. Usually, there is an adobe watermark across the top, and I don't know why it's not showing up on this one, but that's OK. We're gonna leave it right there for a second. And right here we have this little cloud icon And what that's telling me these are creative cloud assets and I can license this asset right here. I see this properties window and again if you don't see this tab come upto window and I'm gonna come down to properties and we can see the properties for any of the assets I click on. OK, so click on this. And if I wanted to, if I wanted to use this, we're going to keep it. I can either search to find similar. It's gonna open up the Web browser, and it's gonna look for similar lightning bolts if it's not the quite exact thing that I'm looking for. So I suppose, Well, I've got this open. I might as well just check it out here and let's see some pretty epic lightning bolts on here. And ah, you know, I think I'm pretty happy with this. I think it's gonna be okay. So what I'm gonna do is go ahead and license this asset. So click right on there and it's gonna ask me if I really want to license this thing. I will confirm that it will use one of my licenses. And interesting. There must be a glitch right now in photo shop. There we go. There we go. OK, so you saw the watermark pop up for a second and then it went away and Also, we can notice that this is much clearer. Now, as I zoom in, it's a higher as image. Okay, so I've got that to work with now it's licensed. We're good to go now. I want to find a ship. So I'm gonna come back over here and I'm going to search for a ship. We're going to scroll down a little bit and see if we can find one. This one actually looks like it might be perfect. That might be perfect on the scroll. A little bit more just to see. I know this is what I want to use, so I'm gonna drag and drop it right into this. I'll hit the enter key, All right. And now, same deal. You'll notice. It's kind of pixelated as a zoom in. It looks really bad. So what I'm gonna do just to make sure someone I want I'm gonna click on fine, similar again and just see if there's any other ships that might fit this scene better. All right. That's kind of scroll through here for a second. You know, I think I'm pretty happy with the one that I found. And ah, we're gonna go ahead and come back. I think we're just gonna license that one as well. All right, so I'm gonna grab this and click license assets. So one thing that's really cool with working with the libraries and the adobe stock Glad license this one as well. You'll see that the watermark, and then once it updates, it will go away. But what's really handy with this is I could work with this. I could fully create anything I want. And as long as it's linked up with this iCloud iCloud with this cloud the creative cloud. Uh, I can license this later, so let's I'm gonna show this to a client. I'm not sure if they want to use it yet. I could create all this artwork and then at the very end of it, let's say they want to swap it out. I could drop something else in and then update the license and it would license that asset for me to use. All right, now, obviously, right now I'm using purchased assets, and a lot of times you're going to find the best highest quality assets when you pay for them. However, let me show you real quick a few other sources that I really enjoy that I think will be helpful for you. So we're using stock were using creative market. I use that sometimes as well. All right. And we used pixels and I use unspool ash. All right, so let me talk about these first. Okay? In Votto Elements is an awesome resource. It's just a monthly fee you pay, and then you have access to all kinds of items from stock, video, music, sound effects, graphic templates, graphics, photos, fonts, add ons like for photo shop, all kinds of amazing things. So if I come here to photos and I were to search for ocean, you'll notice that there's a lot of high quality images in here as well that I could have used on. The difference between this and Adobe stock is that you pay a monthly subscription and you get unlimited access to much as you want. Whereas with Adobe stock, you have to pay about three bucks per image that you ah license so it could be a little more expensive. But I've found that a lot of times it's really nice as you've seen the just grab assets right inside the library and drop it into your canvas. And then a couple of free resource is just to get started. Um, actually created market is not free, but that's another one that I use as well. Creative market is an awesome resource for creative graphics and assets. Okay, but pixel pixels dot com and unspool ash are both really great websites for beautiful images as you're working through things. Okay, guys. So you might want to start checking out pixels and on splash as you create your composite image. 4. Blending Images Together: All right. So what I'm gonna do now, we need to start creating this composite and blending things together. And so what we're gonna do, let's go ahead and start. We're gonna turn off this layer. So we're in the layers panel, click on the little eyeball here to turn off this ship, okay? And I'm gonna come into this lightning bolt, and I just want one of them. So what I'm gonna dio is I'm gonna get my lasso tool Hit the letter. L or come over here in my toolbar. It looks like this again. You should see this because of how we reset our can. Our, ah, our Windows panel. But if you don't see it, come all the way down to the left hand side. We'll click on these three dots, click and hold, and you can edit the toolbar. And inside of here, you can see every tool available. So you might need to do that, depending on what you see. All right, but we've got a lasso tool letter. L is my shortcut, and I'm just gonna click and drag around the lightning that I want and then let go and I get these marching ants. This marquee selection. Okay? And so now that I've got that, I'm on my lightning layer and I'm gonna come down here and click on the little square rectangle icon with circle inside of it. This is a layer mask. So when I click on this, it's going to create a mask over the image. So what we've got going on here about my main image with lightning bolts, and then you see a little chain link icon, which means it's linked to this mask. So as I move it around, get my move tool up here. I move it around and this mask moves with it. Okay, if I were to unlinked that and now I have to move it around, you'll notice that I can move the mask. Whoops. Or I could leave the mask there, click on the image, and now they move the image. The image moves inside of the mask. I hope that makes sense. I'm gonna hit Command Z to undo that when a link it back up. All right, so now I've got the selection, but I know what you're thinking. This is a terrible selection. I can obviously see the black outline. That's not gonna work for me. So what we're gonna do is we're gonna play with what we call blend modes. So I'm here in the layers panel, right? Appear says normal. And again, pay attention to where your Which layer you're selecting. We don't want to mess with the mask. We want to click on the actual image. So we see that selected I'm gonna compare to normal. I'm gonna click on that. We're gonna play with the screen blend mode. So as I hover over all of these, you'll notice that it changes my artwork. And what's happening here is it's changing how this specific layer the lightning bolts are interacting with whatever's below it. Okay, so in this case, it's the ocean image. So I'm gonna come back up here to normal. I'm gonna click on that, and as I hover over it, you can see there's different things. But I happen to know that screen is going to be the one that's going to hide anything black , all right. And it's going to reveal all of the lighter tones. So, by doing that, all we're left with is this lightning bolt. Okay, Now what I want to do is scale it in the place. So there's a couple things we can do here. Become my move tool selected appeared the top. You'll notice I have it. Auto selected to the layer. So whatever I click on it will automatically start to move. Okay, So as I click, you'll notice over here in the layers panel, it is automatically grabbing whatever I click on, which is helpful and handy. But sometimes it becomes difficult to grab things, So you might want to turn that off, And then no matter where you click, it will only move whatever layer you have selected. Okay, so we're gonna go ahead and move us into place. I kind of like the scale of it as far as how it looks. But let's say that I wanted Teoh, too. Um, scale this down so I don't lose some of this up here. So I've got this layer selected. I could with the move tool, click on show transform controls. And then these will always be available for you to scale things down and you'll notice it's scaling the entire image. So it sees. If I were to hide this master holding down shift and clicking here, you'll see that we still have all the other lightning bolts were just hiding them behind this mask. Okay, so that's why we get this transform control over the whole image. So for beginners, it's pretty easy just to turn that on and then scale things down. Okay? Ah, but what you might also want to do is come up to edit. This is called free transform. That's what we're doing right now. So the shortcut on ah, on a Mac is command and the letter t on a pc, It's control T. All right, so we'll click on that. And that's how you would get these transform handles and we can scale it into place. Now, the next thing you'll notice is ah, depending on if you hold shift or not, you can skew the image. Okay, So if we don't want to get skewed and look silly, we will either hold down the shift key or let go of the shift key to get different results here. Okay, some scale this down. When you're done, you can just hit the enter key here independent. So I've got the show transform controls turned on. If I turn this off command T to scale it. All right, it return or up here in the options bar. Click on the check, Mark. Okay, so now that we've got this scaled in the place, that's kind of cool. We could do some other things to a but for right now, what I'm gonna do is let's come back to this pirate ship. Let's turn this back on. We need to make a selection with this. So there are lots of ways to make selections. But my favorite right now in the new updated version of photo shop actually is a few different things we're gonna do here and what I need to dio because this is a cloud document I'm going to right click, and I'm gonna click on Rast Arise Layer and that's going to break it from the cloud link. And it's gonna mash it down as a flat image, which will then allow me to do this in the properties scroll down here. You'll see quick actions. I can remove the background, or I can select the subject. The subject meaning whatever's in focus in this case is this ship. So I'm gonna remove the background. I'll click on that with one click. It gets me pretty darn close and you'll notice what it did when I clicked on that. The image is still there, but added under the mask. So Photoshopped did a really good job of automatically creating a mask for us based on what it thought was the main subject. However, we're gonna need to clean this up a little bit. So what I'm gonna do is zoom in here. I get the letter Z to get my zoom tool. Or in this case, I had my move tool selected. I met the letter. I'm sorry. I mean, hit the space bar, which gets my hand tool, which lets me move around the canvas here. And then I'm gonna add command to that. If you're on a PC, had controls and they've got space bar and command held down, then I can zoom in, or I can hit space bar command an option or Space Bar Control and Ault on a PC to change to a zoom out. Okay, so that way, it's really easy to use your keyboard shortcuts to zoom in and out on this thing. All right, so we're gonna do is we're going to zoom in and we need to clean up this selection. There's a lot of ways to do it. What we're trying to do is just paint with a black color on this mask to hide the image we don't want. So that could be a simple as getting your brush tool. The letter B Maybe grabbing a soft brush up here, joining the size and the hardness to match what you need and you'll notice. Nothing's happening because if I had a paint past this, it actually reveals the image Well, that's because we're painting with white on our masks and anything white will reveal. If I swap this by clicking on this double arrow or hitting the letter X on my keyboard, I can swap it. So black is on top here and now we're painting with black to hide so I could come through and I could paint over the top of this mask to hide that. But you can see that's going to take me a long time. So let's see how much more Photoshopped can help us out. What we're gonna do is the letter W to get my magic wand tool. And if I click and hold on this and notices tiny little down arrow, any of these tools that have a tiny down arrow tells you there's more tool stack behind it . So we've got our magic wand. We better are Quick selection tool and our object selection tool. Right now I'm gonna work with a magic wand. I was gonna click in here. Let's go in and grab the We want to be on the image layer. I'm gonna click in here and you'll notice as I click it changes the selection. So what I want to do is hold down the shift key while I click, and it changes to a plus. So now I can ADM or to my selection so I can click in here and clicking here, and you're gonna have different results depending on your tool setting so well, I have this tool selected. You'll notice at the top. I've got this thing called tolerance all right, so the higher the number, the mawr selection, it's gonna add to it. If it's a low tolerance, it's only going to select. For example, let's say number one as I click in here, you'll notice it. Will Onley grab pixels that air the exact same? Essentially. Okay. And then we also have this continuous, contagious hot or how to say that. Anyway, we've got this check mark here. That means it's only going to select things that that is within the selection. If our to bump this backups to say 20 and I turn off continuous on I click here, it's going to grab everything in the image that it sees as the same color. Okay, but we want to turn this back on. I'm going to select De Select or hit command D to de select what I just did. All right, we're back on this image. Later, I'm gonna click in here, Hold on shift until I get a pretty good sampling of the part of the image I'm trying to remove. Okay? So hopefully that makes sense. With that selection selected, I'm going to come back over here and click on my mask, and I want to fill this with black. So the way we're going to do that has come up to you at it down to fill, and I want to fill it with the foreground. So we've got options here for round background color content aware lots of cool things, or is black and white or 50% gray. But because my foreground is already set to black over here, this is what's on top is the foreground. I'll click on that. I'll click. OK? And it just filled my selection on Lee with Black in this mask. Okay, so now I'm done with that. I'm gonna hit command D to de select or come up here to select down to de select. All right? And we're gonna start doing some more selections over here, okay? And, ah, again, depending on what you're working on, you're gonna have different tools. Will be, will be more successful than others. But we're gonna just kind of click around here holding shift and just adding all these little sections to my selection. Okay? Will come back here in the mask, and we're going to this time another shortcut instead of going to at it. Phil, I'm going to hit the option key and the delete key, and that's going to immediately fill with whatever my foreground color is. So by holding an option, delete it filled that selection with the black that I have on top here into my mask. Come indeed a de select. Okay, so I'm gonna go ahead and just keep cleaning this up a little bit with my magic wand tool, getting it pretty close. And for the sake of this tutorial, this lesson not being, you know, an hour long, we're gonna go ahead and speed this up a little bit and maybe not be quite as picky as a usually would. Ah, but we're We're getting pretty close here, so we'll click on that back of my mask. All delete command D to de select. And that's looking pretty good. Okay, so let's I know I said, Let's wrap this up, But it's I can't help myself. It's addicting. I want to just keep clicking here and getting all of these selections. Perfect. All right. Close were super close. All right, Ault, delete to fill my mask with black command D to de select Space bar Command. An option to zoom out. All right, that's a lot better. Okay. And you can see down here with maybe need to remove the waves. Let's do that as well This time. What I'm gonna do is get a nice soft brush with the letter B and it goes back to the brush I had set here. Okay, are hardness. That's the edge. We want to be super software scrubs to the left. Do that. And now we're painting with black on our mask layer to hide these. All right, so we're just gonna kind of scrub around here and just blend this in with the waves from the layer below? All right, so this isn't perfect, but it gets really close. Really close. We'll zoom out. All right. Not bad. Alright, We could clean this up a little bit more, but this this is a great first start. All right, let's grab his lightning bolts. I'm gonna change my selection to auto Select with my move. Tool swings, gravis, lightning bolt and move it around. Maybe scale it up a little bit. Maybe rotated a little bit to rotate it. I'm just holding off the edge here until my cursor changes to a curved arrow and then I can rotate it. All right, That's pretty cool. Enter to commit that change, All right? Also, don't forget to save guys. I've recorded this entire thing without saving, and I totally forgot. So what we're gonna do, I'm just gonna hit command. As for the shortcut, or you could come up here, file down to safe, and we're going to save this document before we go any further. And let's save this as ship it's s top wallpaper and I can put the dimensions 1920 by 10 80 just in case. I need to remember what sizes says and I will go ahead and click Save. 5. Color Grading and Adjustment Layers: Alright, guys, it's looking pretty good. Let's go ahead and push this a little bit further. So what I want to do now is I want to make these colors match a little bit better. You'll notice this ship doesn't quite look like it belongs in this scene. Part of it, as these waves are very Kevin hdr feel a sense for high dynamic range. So we've got really dark blacks and really light bright highlights here. So what we're gonna do is try and stylized this ship a little bit. So I'm gonna grab this image here, and I'm going to hit command l, which is the same as going to swell our levels. It's the same is going to image adjustments down to levels. Okay, So gonna pull that levels up here and I am going to play a little bit with this is my dark tones of a click and scrub this. You'll see that the blacks get even blacker or the mid tones, right. We could make them lighter or darker. And then our highlights are whites. We can make them even brighter. Okay? And we can adjust how this looks or even our output levels so as a whole, this just kind of looks a little bit lighter. So I'm gonna scrub the lights down just a little bit to darken it up, Maybe bring in the blacks on this and crush up, crushed the blacks. Great, slide up the whites here. And, um, that is better. That's looking better. Okay, so we're gonna play with this, which is eyeballing it. And sometimes these adjustments don't work. Sometimes you play with an image, and it doesn't quite look right. So maybe what we want to do is comfort image adjustments. And you'll see there's a few different ways we can work on this image. But what we're going to do now is grab an adjustment layer. So we're gonna click right here on this little circle that's got the line through it, and we're going to put an adjustment layer over the top of everything. So there's lots of different types of adjustments we could do. I'm going to play a little bit with the photo filter right now. We'll click on that and it throws in a layer over everything else. And I can change how that looks. You'll notice it adds this warming filter over everything. So it kind of makes the whole thing feel like it matches. Now. I don't really want to. Ah, as I look at this, I really like how it looks, So it's kind of keep playing with it. We're gonna click this drop down. Maybe we want a cooling filter to really make it look, you know, cool it off here with some different, um, blue tones. Okay, let's click down here about, uh, c b a town. Right. Make it look a little older and stylized case. That's one way to work. Let's couldn't turn off the eyeball here to see it on and off. Let's Maybe at another layer, another adjustment layer will come to hue and saturation will click on that. Okay. And this time about the photo filter, Turn it off. Now play with hue and saturation and I can adjust how saturated is or what the hues of it are. You notice it changes the entire image below. So this is a really quick way to make the whole image look like it kind of belongs in the same scene. Okay, there's lots of other tricks we can do, but that's a quick and easy way to do it. 6. Adding Text: all right, now, bad for our first composite image. Now, let's go ahead and add some text. So I'm gonna hit the letter tea on my keyboard to get the type tool and up here in the top color in the options bar, I can click on that color chip to select the color I want. So I've got the color picker window. And as I hover over my document, you'll notice that I get this eyedropper tool so I can click anywhere inside of this to select that color over here. Okay, so I'm gonna go ahead and grab a lighter. Ah, blue color from the sky will click. OK, and I'm gonna click once to get a placeholder text. You notice this is huge up here. So what, It's still selected have known anything else. I can click on the letter T and scrub it left to make this smaller and fit inside my window here and now click on my move tool and I can move this text in the place. And Laura MIPs um what is that? If you don't know, this is basically Greek filler text. So if you don't have text to show your clients. You can use this as a way to just see how the design looks. But in this case, let's go in ads and text to it. So we'll say a smooth See when moves up here, you'll notice we've got a text layer here with my move. Tool selected. I'm gonna hold on the option key. Click and drag down a copy the letter t to get my type and then triple clicking here to get it all selected. So a smooth sea never made enter to commit that The letter V now. So by hitting the hitting the enter key, I could now use my keyboard. Shark it. So I get the letter V to get my move tool without typing the letter V in here. So a smooth sea never made hold down the option key. Click and drag. We're gonna say a skill skilled hit. Enter its letter V to get my move. Tool. Hold on. Option to drag a copy in the run type sailor. All right. A smooth sea never made a skilled sailor. Perfect. All right, so we've got some text in here that we can now manipulate and work with. So because I've got my move. Tool selected and auto select selected. I can now click and drag anywhere I want will not anywhere. But I can click on this on these different text layers and automatically move them around. So it's a nice, easy way too quickly. Get your text laid out How you want it. So I'm gonna dio, uh, kind of play around with this A little bit of command t to scale this. We'll scale it down a little bit. And I have you hold on shifting option or just option Or Ault, you can scale from the center of your scale point or if I don't hold down option, it will scale from the corners. OK, so we're going to scale this into place. It was kind of playing with sizes and obviously this is difficult to see, so maybe we add some effects to it. Maybe I'll add a drop shadow. So I click on this my text layer selected. I'm gonna come down to effects. We're gonna add a drop shadow, but this window open, I can move us to the side and actually physically click right here and move the shadow Exactly where I want it, and I can adjust it Spread where the size we're making. Pretty subtle. Okay, I'm gonna click on the color Swatch here by default. Years was probably over here in the great own somewhere, but I'm gonna click right into this guy to kind of make it match, and then maybe dragged this down a little bit to darken it up, and then I can change the opacity. I could bring it in a lot or make it to super subtle again. Guys, this is just all whatever you want to do. Just playing with it a little bit. Okay, That's one thing we could do is add a drop shadow to this. We could also experiment with changing the color completely. So let's go ahead and turn office effect down here. I can turn off this drop shadow. Maybe I want to make this whole font darker. Completely. Someone had to let her I to get my eyedropper tool. I'm gonna sample this dark color from the waves below. And now, with that selected, I'm gonna hit option and the delete key to just immediately fill my text layer. You could ask him over here to the properties and click on the color swatch right here and just click anywhere you want and see it as you go. OK, so there's lots of ways to do things in photo shop you'll notice as we get going. Um, so I know I'm throwing a lot of information at you. Remember, You guys can always rewind the video or play posit, do the work and then continue or speeded up or slowed down. But the options down below All right, so smooth seat never made. Let's make this a little bit bigger. Maybe let's fill it with same dark color. So option delete to fill it and you'll notice I have these little pink lines showing up that kind of pop it into place those air called smart guides. So if I come up here to view, I could turn on snapping, and I can also turn on snap two guides, okay and document bounds layers, all that kind of stuff, and those will help you lay things out and get everything lined up nice and tidy here. All right, so we scale this guy up skilled, fill it with the darker color, a skilled sailor all right, and Maybe we change is found to something else. I like this. Let me think about a brush brush E. I don't really like that very much. How about broadcast matter? That's a good fund. All right, So what I did there without even thinking about it. I went really fast. Let's Ah, let's slow that down a little bit. Okay? So when I click on this when we go back, I have this whole thing highlighted over here in the property. John, notice are fonts. We have this right here, are tracking. Ah, and you'll see it's tracked out to 300. So what I did, I could have just clicked in here instead of zero. But I had the whole thing highlighted. I hit command option and then the left arrow or the right arrow and you notice that adds the tracking by default on a PC. I'm pretty sure it's control. And Ault, um, to do that. But anyway, we're just quickly adjusting that and in command shift in the period key or the comic E. So the right character, the left carrot bracket keys make it bigger or smaller, and right here it's just the same as clicking on this text, and you can scrub it as well. So, like I said, lots of ways to do the same thing in Photoshop. But, um, just trying to kind of show you my workflow at the same time and how I work fast. All right, so the skilled sailor, this kind of cool, but you can't really see skilled. Let's see if we can crunch this up a little bit. I'm gonna bring I'm gonna turn off the sailor layer so I can grab that. Move it up. Okay. It's a work in progress. But you guys see you see what I'm doing here? We're gonna just play with it a little bit. I could even go so far as to Adam asked to this text do my brush tool painting with black. And I could mask over the letter so they kind of look like they're popping up out of the, uh, the ocean here. I could even grab this photo layer and get my quick selection tool. We'll make this a little bit larger, and I could highlight the waves that way. Hold on the option key to subtract this part here. All right, So now I've got a selection just around the sky, but I want to select the opposite, so I'm going to select down to inverse and now selects the opposite here. So now what I can do is come back to my mask on the words skilled, and I can fill this with black. So option delete or at it, Phil. Okay. And now it If I hit command D or go to select D select it hid the letters behind that selection. Okay? And I could come back here into this mask and Aiken, refine this a little bit more. All right? Looking good. All right. A smooth sea never made a skilled. Let's turn sailor back on. That looks pretty cool. Lots of fun. Awesome. All right, so that is our very first composite image. I'm gonna go ahead and command s to save it before I forget. And now that I've got this set up in the right file size Well, how do we get it from a photo shop document onto my desktop? Well, what I can do is come up here to file and we can hit save as or export depending on the type of file we're going to save it to. But for now, we're gonna go to save as we're gonna change it from a Photoshopped document to a J. Peg, I'll go ahead in bed. This color profile this SRG B is going to make the colors look like they match across most devices, whether on a PC or a Mac. And then I'll click save. We'll go ahead and change the file size dimensions. Make sure it's at the maximum the large files that waits as crispy and and good looking as we can make. It will click OK, and now we have that J peg that I could go find and I can right click on it and I can set it as my desktop wallpaper down here, said Desktop picture. And if we hide all the windows, you can see that this is my new desktop wallpaper. Not bad for our first pass at Photoshopped compositing. Alright, guys, I hope you enjoyed and that you learned a ton of information. I know that was a lot and it was a whole bunch of information. So if you got stuck along the way, don't forget to ask for help or just watch that video again. Maybe watch it a little bit slower and we will see you in the next lesson. 7. Introduction to Advanced Techniques: all right in this lesson. Let's push our design further. If you followed along and you have this and you've created your own first composite images one say congratulations. Now what we're gonna do is take the skills that we have and pushed them further to make this look even more realistic. So you might be wondering. Well, what do you mean, more realistic? Well, as I look at this, there's a few things we can fix, and one of the very first thing that stands out to me is our lighting. So where is our light source coming from? And is it casting any shadows and is it consistent with the rest of the scene? So what I'm gonna do very first has just hit the letter F on my keyboard to toggle through my screens. So if I click down here in the very bottom of my toolbar, you see, we have three different screens weaken cycle through right. So I'm gonna do with the letter f once, and it toggles one more time and all my tools go away just so I can look at this full screen with you guys and just kind of, um analyze this and just kind of see what we could do better. All right. So the first I notice is that this ship right here is just smashed flat, right on top of the waves. All right, so it's not casting any kind of a shadow. Uh, you know, we could maybe play with blurring in certain areas a little bit. Nothing. You'll notice to the waves. If we look at the light source, it seems to be casting a light. Hey, from this lighter part of the sky right here. So if that were the case with this ship, we would see a little more highlights here on the sales on this side of the ship rather than on this back end. This shouldn't be lit up at all. And, you know, maybe it's coming from this lightning bolt. But if that were the case, then perhaps there'd be more of a glow on these edges. Okay, So just some different things we can do here to try and make this really look like it belongs in the scene. So let's go ahead and dive in. And, um, you know, I'm just kind of playing right now. When I get warmed up When I'm playing in photo shop, I tend to do this a lot of tennis. Zoom in and move around. Just think about it and think about what I'm doing. And the way that I'm doing this Move tool selected with the letter V. I've showed you this in the last lesson space bar to move around with my hand tool command and space bar to zoom in and then space bar command an option to zoom out. So I'm just doing a combination of all these things to just kind of quickly zoom in and, ah, just, you know, kind of warm up my thoughts and think about where I want to dive in first. So all right, looking at this one thing we could try right away that might be helpful had the letter f to bring back on my tools. Another shortcut you could do is hit tab the tab key on the top left to cycle your tools on and off, or shift tab to just hide all the windows on the right side. Seeks to every tools on the left. All right, so just some quick workspace shortcuts toe to Ah, I don't know just to add to your repertoire. I said that right? But all right, so let's do this. So what I want to do first, let's play with Let's just play with getting the lighting right. So one thing I could do, let's be make me tools and, ah, grab this layer and hit command T to free transform. I'm on a right click and then I'm just going to flip it horizontally. Let's just see what happens. All right, so now it kind of looks like the boat is retreating away off the page. And typically, when it comes to, um, you know, just your compositions, you don't usually want to crop somebody's face looking off the screen. Or in this case, the boat looks like it's just going right at the screens. If that were the case, you'd kind of want it over on this side. So the action stays. Let's just kind of move all this over a little. Let me grab all this text over here scooted over here. So obviously I need to fix my mask. If I do that. Oh, that's what we could do. We could highlight some of this over the love letters that might be cool. So now we can see that because the ship is on this side where the light of the images, that it feels maybe a little bit better. Um, you know, maybe we liked it better on the other side, but let's kind of keep playing with us a little bit. So, um, this is kind of Ah, fun. Happy accident. Weaken, weaken, Mess around with our layers. Now we could bring this lightning bolt on to click on it and hit command shift and the right bracket key to bring it all the way to the front of everything. So what we did is we brought this layer all the way to the top. Why can hit command and left bracket or right bracket the cycle through one at a time? Okay, so that's under. If we come to layer down to arrange and then bring the front or back And so that's what we're doing right here. We're just playing with the layer over here and where it's sitting. So now we need to fix this mask, but we'll come back to that in a second. This is pretty cool. Let's make this lightning bolts We need to add to this mass because the bolt would probably be maybe behind these waves a little bit. Someone come up here with a nice soft brush. We're gonna grab this, make this bigger painting with black, and we're going to just kind of clean this up a tiny bit. Here, let's see how it how it goes. All right, so that's looking good. That's kind of fun. It comes in front of the letters. Maybe we wrap it through these letters, so let's click on this smooth see? Let's add a layer mask clicking on that will hit the letter B to get our brush and let's just paint over the top. That's not what I meant to do. Um, it's not what I meant to do it all. Let's go back to the lightning bolt layer. My bad on this mask. There we go, and I can either brush over it, but you'll notice it's It's kind of affecting the glow and everything, so I'm gonna come back to I still have the lightning bolt selected as my layer. I'm gonna come back to the words of smooth Sea and then over the little T icon. When I hold down my command key on PC, it would be control. You'll see my cursor changed to a hand with a little square box, so that means I can click on it and activates a selection. Okay, so the selection is the same shape is my text, but I'm still on this lightning bolt layer, and I'm technically, I'm not on the lightning bolt itself. I'm I'm on the mask. Okay. I've got my brush tool selected, and I'm gonna paint with black. And now I can hide that lightning bolts and bring this letter M right to the top. Okay, I could hit exit. I've gone too far, and I can paint back in with white on my mask layer and just kind of maybe bringing some of that down here below. And maybe some of that that glow Maybe some of this right here. My brush a little smaller. Que eso were basically getting creative with our masking. I'm gonna go to select down to de select. And now you can see that it brought that letter m in front of that Bolton were playing with our depth and so that we can we can play this further. So I'm gonna come back to a smooth sea on that T hold down command on a Mac control on a PC and click to get that selection back coming back up to my mask again. And I'm painting with that soft brush, and I'm just kind of bringing back in some of these details. Okay, that's too much. Um, let me see what I meant to dio. Yeah, I don't know. I think I'm happy with what it was before, but now you see the process. But you see, we can't have his line where that with a glow, um, starts and stops because they're still that glow from the bolt. So I'm gonna do is I'm going to mask it back. But I'm gonna control my flow a little bit. So up here with my brush elected at the top have opacity and flow. You can play with both of these, you're going to get similar results. But if I dial this back, I just clicked on the word flow and scrub it to the left. I can paint with, like, a 7% flow, which means it's gonna take a lot to make it actually do anything cause it's hardly painting anything. It's hardly you think like an airbrush right where the flow is turned way down. So there's not much coming out of the nozzle. Okay, so it's kind of weird doing here. Same thing if you were to scrub the opacity where maybe it's not painting with a much, um, paint right? So all we're trying to do is just blend it a little bit. So it's not so obvious that it's a harsh line there. Okay, I can hit X to cycle my foreground backgrounds. Now, if I paint with black again white to kind of just blend that a little better, All right, that's good enough for now to get that technique to kind of play with. That does really cool. I'm happy with where that's going. All right, so we've got smooth sea. Never made a skilled sailor. All right, let's go and fix a skilled sailor. Click in there and it keeps wanting to click on the word sailor because this font is huge and it's on top. So I'm gonna dio I'm just going to one of two things. I could lock the layer right here. Okay, and then it will let me click on it. Or I could just hide it for a minute, and then I can click in here. And now I can adjust this spacing. It's just between the and the ass is too much. So I couple ways we could do it. I'm my shortcut is command option in the left arrow or the right arrow to adjust that tracking right or control Ault on a PC and in the left and right arrow. Okay, If you don't see that, we're going to come back to our properties over here, and I just, uh, scroll down and we're just playing with this tracking. Okay, So anyway, I'm just bringing this letter a little bit closer to where I like it. Let's scale it back up a little bit. So kind of matches how I had it more to click on the waves layer and get my the letter W d my quick selection tool. We're just going to quickly grab these waves. Hold on option or Altana PC. Because I grabbed too much of it here. I just want to get a nice, quick selection. I'm working too hard with it all right, Let's come back to the text. A skilled, which is appear somewhere there we go and we want to Right now we have the sky selected. So we want to fill with White on the mask to bring back this letter A down to here. Right? So I got a white on top. I'm gonna hit option and delete to fill. OK, but now our s and R K are going past too far. So I'm gonna do is go to select in verse And this time I want to fill it with black. So instead of hitting option delete, I could hit command delete to fill with the background color. Or I could just swap it and still use all delete. All right, But im gonna fill up the background on my command and delete to fill that. And if you're not seeing that, go to image. I'm sorry to edit down to fill. Okay. And now I'm going to go to select and de select. And as I'm cruising through this just a friendly reminder. Guys, if I'm going too fast or too slow, just speeded up or slowed down. It's a video so you can adjust the playback setting down below. So I, uh, speed it up or go super slow. And you can also hit, pause and just try and experiment with these techniques as I show them to you. All right, so we've got a smooth sea. Never made a skilled. Where did Sailor go? Let's bring it back. Let's turn that eyeball back on. And there it is. Okay. Very cool. We're getting there now. Let's let's try and make this ship more realistic. 8. Advanced Shadow Techniques: okay. Very cool. We're getting there now. Let's let's try and make this ship more realistic. So a couple things we could do is we. There's a lot of things we could do, actually, quite a bit. So let's let's play with some of these options. So what I'm gonna do first is I'm going to jump cut this layer into its own layer so I can work with it, but still have this original to go back to. So I hit command in the letter J to jump cut that to a new layer. I've got a new layer right above it. I can turn this bottom one off or I could leave it on and you can see Hey, there's actually two layers there, but I want to turn that off for a second and I Let's see. Let's let's start by casting a shadow. So the first thing I want to do if you'll notice if I hold on shift and click on this mask to turn it off all of this image detail is still there. Let's go ahead and bring her back. And what I want to do is I'm just gonna grab this mask and DeRay get down into the trash and it's going to ask me if I want to apply the mask before removing. So if I apply it, it'll cut it out and then turn it into its own image. If I delete it, it just kills the mask and brings back the whole image. All right, let's do it one more time. God, Mask straight to the trash. And this time we're going to click. Apply. All right, so now I've got an image that is truly just an isolated image without any mask applied. Now the reason why I want to do this and the reason why I made a copy so I can keep making more copies. It's come back here, command you to jump Cut it again, bring it up in front and I'm gonna click this one. That's behind it. And we're going to do some things to it. So first, all right is where it gets a little technical in a little advanced. So if I go too fast, you can rewind it. Ah, but let's let's do this. All right. So I'm gonna click on the lock. Transparency icon, Assists, checkerboard looking thing right here. Okay, so now what happens? As an example, I'm gonna come appear to color. I was gonna grab a random color. And if you don't see this color palette window down to color, Okay. Bright pink. So we can see what we're doing. And I'm not going to make a selection this time. I could command click on this layer to make a selection was de selected. I'm not taking any selection. I don't have any mask. I only have this locked transparency button clicked. Now what I can do with my foreground selected as pink, I can hit option or Altan pc and delete. And it will fill Onley any pixels on the layer with pink, and you'll notice it even blurs it. So whatever the opacity value is, it will match that with whatever I fill it with. Okay, But it locked the pixels, so if there's no pixels filled, it won't get any color. And I hope that makes sense. Really cool shortcut. Now, here's what we're gonna do with this. All right? I'm gonna change us back to black. Someone at the letter D to reset my colors. Black is on tops. We're gonna hit option delete on my Mac. And now it fills this with black. All right, now, this is where the fun part gets. I just actually had the letter f on my keyboard. That's what cycled the screen. Okay, cycle it back. Alright. Eso we've got the ships selected. I'm gonna hit command t to get my free transform, okay? And now here's where this is fun. Okay? By default is just going to scale the transform. All right? But what we want to do is make this look like a shadow enter cause I forgot to turn the top layer back on. All right, so we got the ship above it. We've got this black layer below it. We are on this all black layer, and we're going to do a free transform at it. Free transform. Command T. All right, this time said, just scaling it, we're gonna hold down the command key first or on a PC that control key. We're gonna click on the top center and drag, and we're going to skew this shadow and basically flip it upside down, okay? And then you'll notice it's kind of off screen so I can grab this corner hit command and then click and drag, and I can really manipulate the shadow. However, I wanted to *** So, um, in this case, it's It's down in the bottom corner, and we might have to ah, fudge with it a little bit. Is that a word? I just whatever may have to fuss with it, All right? And get it looking, you know, kind of the right angle and everything like that, and you might be asking. Well, Derek, can't you just do a drop shadow effect like we did earlier? And yes, you can, but let me show you where this is headed. Here, let me show you. May be I'm just trying to match this angle, all right? And, ah, it's a hot mess. And I have to start over because I was too busy talking, but, um, anyway, you get the point like you can skew this shadows. Let's do that one more time because I just goofed it up. And while I do that, let me show you something else. So if you have this layer, if I goto drop shadow like you might think I might be able to do you notice? Yes. It drops a shadow. But these sales would not be casting a shadow on the clouds behind it. Right? None of these jobs. It would only be casting a shadow down here into the water. So we're gonna cancel that. That's why we're making our own shadow. All right, let's try one more time. We're going to this time I'm showing another way to work. I'm going to just command click on the mask to get a selection at a new layer, and we're gonna fill it with black. Okay? So just another way to work instead of the leading that mask. All right, that's transform his command T. Now, hold on, command. Click and drag. Flip it down. Okay. And then let's I'm just doing it up here so I can see because it comes off the edge here. All right? Getting it close. We're to go like that for now. We're gonna bring it down here and you'll notice it's above my ship. So I'm gonna drag it down, put it behind command T. And we're just kind of fussing with shadow a little bit until we get it to where we like it now. Another thing to notice if you look at shadows, you guys, you'll notice they look nice and crispy. The lines look good as they're closer to the object. But as they get further away, they get blurry. Well, how are you going to do that? Let me show you. All right, So first, let's go ahead and I keep hitting it, F g. Let's go ahead and make a selection. So another way to make a selection? I was gonna hit the letter l to get my lasso tool just a regular rope lasso tool. And I'm just gonna do a rough selection. Kind of at the angle. I wanted to blur, and then I'll let go. It'll snap back and you'll notice up here in the options bar of the options to feather this . But that means is right now, zero pixels means it will be a very hard edge. Let me show you on a new layer. What that looks like. Option delete and de select. And you see, we have a very hard edge. Okay, Let me step back. A couple. My lasso tool. And this time I'm gonna change my my feather. Let's make it. I don't know. Let's guess Let's try 50 pixels. Okay? And it's not going. I don't think it will apply it to what we've already drawn. See, it still leaves. It is a hard edge. So what you're gonna want to do is before you make your selection of my lasso tool feather at first. Okay, so now, as we click and drag, you'll notice cl kind of shrunk up a little bit. So now if I were to fill us with his bright pink so you can see what we're doing here. Oops. I was up in the options there. Click on my layer, all delete filled pink. You'll see where the selection is. Verse two versus how far into the image. It's feathered. Okay, so what I'm trying to do when we step back a little bit, I'm gonna delete this layer. All right, so we've got this black shadow from the boat. I've got my feathered selection, and I'm gonna come up to my filter. I'm gonna apply a blur to it. Specifically this Gaussian Blur Ghazi and Gaussian Ghazi in I've heard it all. I don't know anyone going to click on this blur right here, OK? And now I can control how blurry it gets. And if you look at my preview, you notice closer to the ship where it's not feathered, not selected. It stays nice and crisp. And as a feather air blur out the rest of it, my selection further down here totally gets blurred out. So that's why we made that feathered selection. Okay, so we're just trying to feather this out a little bit. Click. OK, we're gonna de select this. And now that shadow looks a lot more realistic. And we could push this even further. Another way we could have done this is with the Blur tool. So we're gonna do is over here on the left under our tools, we're going to click down on this little finger hand icon. It's the smudge tool. We want the blur tool appear. OK, we'll click on this, and you can adjust the strength up here right now. At 47% it's probably at 50 by default for you, but you can you can really control how fast this blurs for you. You can change the size of your brush just like any other brush here. Hardness, things like that. Okay. And now we can click and just kind of manually blur these edges a little bit more. That's another way to work. Okay, so there's kind of blurring the shadow a little bit, so it looks a little more realistic down here. And now let's play with our blend modes again. So I'm gonna click up here under your honor, and this is rename this to Shadow. It's double click in there and click Shot are type shadow come to our blend mode, and we're changing to multiply, which just helps it blend with that background better. And then we're going to click on the word opacity and scrub it left until we're happy with how how it looks, casting on its waves so you can see in the image that it's, you know, the further I go to the left, the lower the number, the lighter that shadow is. We want enough of a shadow that it you know it. It adds to the image maybe about the same tone or value as these clouds up here just kind of help bounce the image out. But that's pretty good. That alone really helps watch. Turn it off, turn it back on and it really helps make this feel like it's in this scene a lot. And that's all we did. We didn't do too much more to this yet. Okay, so the next thing we can do, we blurred the shadow. But maybe we want it to, and I'm going to let me, um There we go. We're gonna work on a white trump this this Ah, photo for a second. So you see this better. So we haven't blurred. That's great. But shadows also kind of fall off sooner than this. So we're gonna add a mask to the shadow layer. Click down here. So now I have a mask. I'm gonna the letter g to get my grade. Ian tool over here. Okay. And then what? That does ingredient creates a a, um, a blend between two different colors. Well, up here in the options bar, we wanted to blend from the foreground color too transparent. And here's how we're gonna do this. We'll click. OK, I'm gonna hit the letter X. Because I had I had what? We'll hear what happened. I had white on on the top, foreground color and black on the back pit D It'll said it to this default hit X, It'll swap it. So now what we're doing is we're going to be painting with black using the Grady int instead of a brush on the mask layer. Okay, A couple other options to look at. I don't have reverse selected appear and I only have the ah, the linear ingredients elected. There's a couple others at a pretty fun radio on a few others here. Ah, but this linear ingredient And I'm starting with a black and I want black to hide from here and fade out. So we're on a mask. I'm gonna click here. I'm gonna drag toward the ship and them and let go, and it's going to fade. This tiny thing see it down here It's just ah, tiny little Grady int that is fading from black to white and hiding that. Okay, so that's what we just did. Using ingredient to apply that subtle fade from fully opaque to transparent. Now let's turn our background back on and you can see shadow looks a lot better. And maybe you went too far. We'll because we're working with a mask. I could do the opposite i g to get my grade, Ian. Tool hit X to swap. So now I'm painting with white. So I want to bring back in some of that shadow. So go from the opposite direction. Right? And I can bring in more that shadow if I took too much away. Okay. So that is how we can use Grady INTs to mask. 9. How Subtle Details Make It Look Real: Okay. All right. So we're looking good. We've got a really nice shadow. We've got a lightning bolt coming in and out of the text. This is looking pretty cool so far. So what are some other things we could do? Well, this lightning bolt is God is God Has has got Oh, my goodness. This is why I'm an artist, not a new English teacher. Okay, this lightning bolt has a purplish hue to it, all right? And so we could kind of add some of that on 2 May be something sales and maybe onto some of this text, So ah, few different ways to play with this. We could add another layer above this. We'll just click the new layer button down here. Its growth. Plus, let's call this, um, purple lightning cast on ship. I don't know. I'm just making this up as I go, guys, all right? And I'm going to command to click on the mask down below and you'll see that I've got a selection around here, and now I can do is get ah, we'll have the letter I to get my eyedropper tool. Let's sample this color. It's actually more of a light blue. Okay. And I can come back over here, had letter b to get my brush tool and make this brush much larger. All right. And then maybe my flow here, Maybe I crank that back up, but I change. The opacity will scrub this down to, like, 17 16% right? As I draw, it's very difficult to see, but you'll notice. I mean, it is it is kind of highlighting that, but honestly, I don't like what it's doing. I want to be more purple. I want to look more storm ish. Okay. And then we're just gonna kind of paint a little bit on the edges here. Okay? That wouldn't show up on that side of that mast, mostly just on the sales over here. Okay, We're just kind of playing a little bit, just adding some depth to it. And and I'm not worried too much about how fake this looks, cause I'm just trying to get the color in place. All right, then what I can dio is I'm gonna de select this, and I have this on its own layer, okay? And now what I'm gonna do is play of my blend mode some more. So another shortcut with my move Tool selected. It has to have the move tool selected on the layer you want to play with. I can hit the shift and the plus or minus keys to quickly cycle through my blend modes. Okay. So as I cycle through these, I'm looking for what gives the most realistic effect. As if that light is really being cast on those sales and out of the box. You know, none of them might work quite how you expect them to. And so what I'm gonna do is get one. That's kind of close to it. Ah, let me see. I think it was color was the blend mode that I liked. Yeah, so here we're using the blend mode color. But now what I can do is scrub the opacity down a little bit just to make that effect way less apparent mawr of a subtle cast on those sales. Okay, s So we did that. And that's one way to work. We have this this color layer. If I hold on the old key and just click on this one layer, it'll hide everything else. Except for that. Let's turn back on the background and you can hardly even you can't even see it when I turned back on the color, the white background. But you can see it's hardly anything there. So another way to work would be Let me turn all these layers back on by clicking and dragging and scrubbing. All right. Another way to work is let's turn these off. Right. Um, I could have just filled this layer, so let me make a new layer. I could just straight up fill it with purple. OK, I'm gonna turn this one off below it. I'm gonna drag this layer right above this ship. And this time I'm gonna hold on the option key and click and click right in between. And now what it does is it uses the layer below it as a mask. Okay. Kind of complicated, but, um, if you missed it, remind the video, but we held on the option. Can iMac Altana PC and you just click between a layer to make whatever is below it mask. What's above? Okay, which this is fine. But the problem you see is it just filled the whole thing with it. And that's not the effect we're going. Force will turn this back off will turn back on our little subtle highlight I can delete to delete that layer. All right, now we've got a shadow, and we've We've modified the lighting on the sales to kind of reflect that lightning bolt a little bit better and again, we could push us so much further. But I'm just trying to show you some of the basic techniques here. Let's try and really make this scene look more cohesive. So, um, a couple things we could try One thing I'm gonna do here, I'm gonna add a new layer. Okay? And I am going to with the letter m to get my selection tool, my rectangle. Marquis, I'm gonna change the feather here to 100 hit return. And then I'm gonna click and drag to get us started nominated on the space bar to move the whole selection to the top corner and then finish clicking and during to the bottom left. And you noticed that as soon as I let go, it applies that 100 pixel feather Now I want to do is go to select in verse, so I just have the corners here and I could feel those with black, so I'm gonna reset it, Option to lead to fill it. Command Dida de Select. And that's one way of about 100 different ways to add a little vignette to this. So you'll notice we've got kind of burned edges on this. Now, I could have just made a new layer. We'll get the brush tool will cycle this up and make it much bigger. And you could just even paint in those blurred. I'm sorry, those dark and edges by hand, right? And I'm painting with a 15% opaque brush, so it's a super subtle. Okay, you don't want to overdo it, but that really adds a lot more mood to the photo and kind of blends everything in underneath it. I'm gonna changes from normal to multiply just little blends nicely. Okay, maybe that's too much. But now now it really feels, you know, ominous and dark and moody, and it even kind of a little bit affects this text as well, and even the lightning bolt above it. Okay, so there is one way to work. Another thing we could do is add some noise to this and again. There's a lot of ways to do this. And photo shop. I'm gonna make a new layer command shift Delete to get my fill or go to edit Phil Shift F five. Okay, nobody do it. I'm gonna click on this drop down, and I want to fill it with a 50% gray click. OK, so I've got this great layer above it. Now I'm gonna come to Filter. I'm gonna come down to noise. I'm gonna click, add noise and there's, you know, a few other things we could do as well, But I'm a click. Add noise and it's very, very, very subtle. I could make it a little more obvious for the sake of you being able to see it at home. All right, let's this over the top. I'll click. OK, now we're gonna change our blend mode. Has the letter V to get my move tool, hold down shift and click Plus. So that way we can quickly cycle through these layers right here. This blend mode and see what does the best here. So we've applied a lot of noise to this too much way too much again. I'm just trying to show you a technique, um, that you can play with. That's kind of cool. What are we on overlay? Okay, so now I'm gonna scrub this opacity down because I want to be that obvious and a lot of things. You know, one thing you might notice that you're working with a composite image is that little bits go a long way. So in this case, it's only a 14% overlay. Zoom in. You can see clearly it's adding that texture to everything which helps, you know, blend everything together. Even the text is getting a little bit of that overlay to it. Okay, so it just looks a lot more realistic. OK? Oh, I see something else we could do with this to All right, So this is our Let me just name this noise layer. So that's going our lightning bolt. And I didn't name that layer. I think it's this one. All right, let's name that while we're at it. Okay, I'm going to If this was really in the scene, you would see it reflected in the water below, so I'm going to jump cut this command. Jada, Jump cut and let's transform it. I'm going to command T or controlled T on the PC. Right click. And were we to flip it vertically? All right, we're gonna drag it down, okay? And we might need to play with skewing it a little bit. Right? So what kind of matches? This angle coming down from there to there instead of straight down. Okay, I hit return and let's come back into this right here. What I'm gonna do is throw this inside of a group. So right here is little folder icon. If I click on that dragon, drop that right into the group. Or it could hit command G, but now have a folder currently with just that one lightning. And that way I can apply a separate mask to this. So click on the mask. I haven't selected on his letter G to get my Grady int tool again. Making sure I'm painting with the foreground to transparent. Radiant. Here, click. OK. A linear ingredient. 100% opacity. It's not reverse. Let's hit the letter D and then X to make sure we are painting with black here. All right. On the mask going to click down here and direct towards the top, all right? And so now it kind of fades that out. Well, this doesn't look very realistic at all, because these waves, the lightning, would not be straight across them like that. So this is probably this is this is gonna take some some very advanced techniques where we can do some different maps where we map the the different textures and make it warp it. But we that's that's way beyond the scope of what we're doing right here. So we're gonna do now is just kind of scrub this down. The opacity may get super subtle, very subtle, maybe even grab my brush tool and kind of paint over the top of this layer, which is the brush just to kind of really make it super settle. All right, so it's there, but it's it's a lot less visible, and in fact, we might even push us a little further. Let's go down into this layer down to this image specifically, it's gonna filter. Let's go to blur back to that Gaussian blur. All right? We don't blur too much, So here it is, without any blur. Look at these lines right here. gonna scrub it up just a tiny bit. Just the tiniest bit. Okay, so what? What that did is it just softens that up. So it still kind of casts onto the wave. Uh, but it looks a little more realistic. It's kind of make those trade up there. And so right there, that's what really sells this, OK? And maybe we might go in this mask, scrub UPA rapacity a little more and maybe kind of hide it from this side where wouldn't show up, You know what I mean? Because it would be kind of curling over that edge, okay? And just kind of play with how that looks so again when it comes to composite images, you can spend hours getting a polished image, but these air the techniques you're basically masking. You're playing with different layers that are gonna blend the colors together, and you're making really strong selections. And that's how you create realistic composite images. And again, you gotta pay attention to those light sources. Where is the light coming from? Where is the where are the shadows being cast and doesn't look really so that I hope was helpful and giving you some more advanced techniques on how to create composite images