How to make a misterious composite in Photoshop | Andrei Oprinca | Skillshare

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How to make a misterious composite in Photoshop

teacher avatar Andrei Oprinca, Graphic designer

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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

8 Lessons (56m)
    • 1. Introduction

    • 2. Preparing the background

    • 3. New sky and the Refine Edge Tool

    • 4. Adding more details

    • 5. Scene adjustments

    • 6. Create the lighting

    • 7. Lighting the windows

    • 8. Making the final edits

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About This Class

Making a photo manipulation is almost like painting a picture. You have to think on things like composition, perspective, color combination, lights, shadows...

Many of the techniques I will show in this class are standard manipulation techniques I use on almost all my manipulation artworks.

Some topics I will cover are:

  • Using the Pen Tool to create precise selections
  • Using Calculations for more complex selections
  • Integrating/blending different stock images and make a seamless image
  • Creating shadows to add depth
  • Lighting techniques

This class was recorded using Photoshop CC 2018. It can be done in any CC version of Photoshop and even in Photoshop CS6 if you are an experienced Photoshop user.

Meet Your Teacher

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Andrei Oprinca

Graphic designer


I'm Andrei. I'm a graphic designer with 10 years of Photoshop experience specialized in photo manipulation.

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1. Introduction: Hey there, Photoshopped lovers. Thanks for joining me on a new for the shop tutorial on Monday. And today I'm gonna show you how to create this manipulation in photo shop. I would say it's an intermediate difficulty. This to Tora is quite easy to create. For some of you, it might have some part where you might find it a little more complex. And in this tutorial, I will show you the same things that I showed you on my previous tutorials. We're gonna do the same workflow, and I'm gonna show you how to combine stock images. I'm gonna show you how to remove backgrounds. I will use the panto and some other tools, and I'm gonna show a bit of a technique that is a little more complex to remove backgrounds , which is using calculations and channels. I'm not going to go into too much depth, but I'm going to show the basics off. Using calculations in Photoshopped Teoh, create layer mosques. I will show you how to create light effects as well. I'm gonna share how to grade the lights on the man that you see here on the ground, on the fire and how to make basic adjustments. And at the end, we're gonna get this result that you see here on the image you can use any force shall version for this I'm going to use for shop CC 2018 Any photo shop cc version will dio if you have photo shop CS six At least that will be great because we're gonna use the color look up adjustment which they introducing four shops here. Six. So if you don't have that, if you have a previous version, you can still make the do toyou will get the same result. The only difference will be the color tones we're gonna You're gonna probably get different color tones. Although if you're intermedia level, you will probably know how to create this color tones with other adjustments. You're gonna get all the assets, all the stock photos and presets that you need for this on the reef on stock folder so you can down all of them in the PSD file and get this and followed Doyle and get this result. So thanks for joining me, and I hope you will enjoy it and let it started 2. Preparing the background: wait. So let's start with the creation off our canvas that's open the stock folder. And in here you'll find the images that you will need to create this. Let's open the image of this plane, which is what I used as the canvas size was and my cameras. Okay, so the first even want to do is unlock it, press and hold the bulky and double click. This will turn this into a normal later on. Let's name this plane re Nanula is because we will have a few of them. And it's easier to talk about the names of each layer than just layer one there, too. We need to remove the sky from here, and in order to remove it, I use different tools. First, we'll start with the pencil so selected, make sure set the setting queued up to this on the top bar, said it to path and start creating a path around this. I'm gonna make it really quick here because this story is not about how to create selections or how to use the pencil. I supposed to know that, and I'm gonna go a little quick here, basically just trace a path around this. And it's easy to do here because we just have very straight lines. And just this little curves here, which you can easily make with the pencil. That's why use it. You can use a quick selection too, if you want for this area. But I think this works better and even quicker than the quick selection tool. Sometimes the quicksight gentle is not the quickest selection toe. So keep that in mind. Okay? So when you get here, just create a shaped like this and create Shea like that, then right? Click and choose makes election. Okay. And now we have to mask this selection. So present. Hold the bulky and click the layer mosque. I can't. This will create the layer mosque. Now, for the bottom far, we will do the same. We will start. Well, actually, let's use the quick selection toe. Um, Just elected a that president, all the shift key end or just faint on. That's it. This will create the selection like that. So, like the letter mosque and all or option backspace. Make sure the for one color set the black and fill that selection with black. Now the tough part is over here. And for that, I'm gonna use channels you can use the magic want to If you don't want to use channels of or if that it's to advance for you, just check continuous use a pretty high tolerance value about 25 or 40 or something like that. And just start clicking here to select the areas. But I'm gonna go a little further and use channels. I'm gonna show you how to use a calculations. So select channels and you will find all the red blue in the Green Channel. And also you'll find the plane mask, which is a little mosque I just created. We want to work with the Blue Channel, so select that. And if it's like RGB and them blue, you'll image will go to black and white. And here we want to use the contrast that we have between this junk plain and the sky. So we're gonna go to image and choose calculations, and basically, what we do here is just used to sources. In this case, each source can be a channel, and we're gonna blend those channels eso we're gonna set on search, Swanagan said blue and on source to I'm gonna side blew us well, and I'm gonna multiply that you could try overly or other blend modes Maybe. I don't know, maybe color burn work as well. Even better than multiply. So said this the color burn and click OK, really basic. We're not gonna go into more advanced stuff in here, so let's click. OK, now this will create the new Alfa Channel. You can see it down here. Awful one. And the plane is black and everything that is white here is the sky that remains so what we need to do is make this even more extremely one, the sky to be as white as this. So with the offer one selected press control command L it will open the levels and this levels will only affect this channel. It's not affecting the original image. Just the channel, this channel, just like a hidden layer mosque. If we go back to layers, nothing will be visible here. So with this Alpha channel selected, increase the highlights until you see the sky goes white or almost white like that? No, What we need to do here is make sure that area surrounding the edges are black as well. So it's like the brush through and said the hardness to 100%. And I just want to make sure the spacing is set to something low here and now I'm going to switch between the RGB and Alfa one because I need to know which the parts that are white here. I don't know if that's a whole or is just the highlight from the from the plane itself. So basically everything that is here should be black. See, yet everything here should be black. This as well. That should be black over there as a while here And just let's see here, Theo nly holder will have is that one over there. So this could be filled with black as well. Except this part. I'm just saying that with black, like so notice that I'm not painting the whole plane. I just need this part over here. Okay? So carefully paint all the area that you have here like this. There are more techniques here using changing the blend mode of the brush. Maybe some of you already know about that, but in this case, we don't need that because with the color burn blend mode that we use have enough. Okay, so that's the part of the plane that I have here. Now, if I control click, this helpful one is going to select the edges just like it does with a layer mosque. So now I can cite RGB again. My selection is active. I'm gonna go back to layers and select the plane. And here, notice that also select rest the rest of the the image here. I'm not interested in that. I just need this part over here. So what I will do is press the Beaky. I have the letter mosque selected, and I'm gonna paint with black on Lee on the areas where I have this holes over here, right there, right here and all around this part over here. I'm gonna hide the selection with control age so I can see the edges better like this. Just being like that to remove the sky from this holes of here, we're gonna have to, um, change the edges here to refine them, Most likely. So we will do that on the second video in the next video. But for now we have our background removed. Next, we're gonna add the sky and check the edges and refine the edge off of this and have a perfect selection. 3. New sky and the Refine Edge Tool: Okay. In order to create the sky, we're gonna go back to our stock folder and open these two images like both of them. Open them on that will open them on new documents on different tabs. And we're gonna start with this one. I'm gonna cut it close and not save and basted under my plane. Press control, Click the new layer icon. This will create the layer underneath and I'm gonna face that with control V. You can see it's really well, it's a little smaller, so I'm gonna have to make it bigger. Move it here and now I'm gonna squeeze it like that and just move it a little higher right over there. Now you can start to see if soon as you zoom in, you can start to see that the edges are not perfect. We have chromatic aberrations around here, so have to fix that. But for now, let's continue with the sky. Let's use the second image and based it here on top. And you can see that this plane here If I disable a layer mask with shift click, you can see the light comes from behind. Somewhere here on the left So this other sky has this light over here. So we have to flip it horizontally because otherwise it will not look realistic. And it's gonna look really weird if you said it flipped with the light on the right, so make sure that the light is on the left. Now I will change the alignment of this too soft light flight. And I need Teoh. Remove this image from this side because you can see darkens too much. I wanna have this color. I like it and it's dark enough for me. I don't wanna have a darker than that. And on top of that, it also saturates this part of here. So, um, in order to do that, you can use a layer mask. Let's really reading this letters to Sky Juan and the 2nd 1 on top, this guy, to that way we know what we're talking about. So on the sky to I want to remove this top right part. This huffed over here so I could create a layer mask and usual Lear Mosque. But it's easier to just use the blend if if you open the layer styles, you will see. Let's see what I can put this right of here on brand options. We have the blend. If section now I can tell photo shop that sky two should not be visible wherever Sky one has dark areas. So if the underneath underling Glor is black, I don't want sky to to be visible. We don't remember I'm on the sky to layer styles, so check what it happens he on top. When I move this to the right, he starts to disappear because the sky want is dark here. So, you know, to have a better transition, I could press the all key and split this and you can save a dollar. Transition is allowed smoother. Okay, so I'm gonna live this to about there, actually to zero and just increase this to 150 about their 151 160 click. OK, and now the only part where this image is visible is right over here and partly here on the bottom as well. Okay, now we're done with the sky. The next thing we want to do is come back here and deal with the edges. So the first thing I noticed is that I have a big chromatic aberration. I still have the letter mosque, so I can disable it for a second so I can see this better. And in order to fix the chromatic aberration, you can use the hue saturation adjustment. For example, you can have a huge situation. Is a just malaria. Use the hand icon, click there the saturate, Then click there on the saturate and then invert the letter mosque and just paint with white wherever this layer mask is black. Now and just pained with white wherever you want to remove that chromatic aberration. This is one easy way, and it works really good. So if you don't have for the shop CC, you can do it that way. But since I have four shops, you see, I'm going to use the camera Raw file on layers, Phil. There. Sorry. So I'm gonna select the plane, go to filter, choose camera raw, and here I'm just gonna zoom in and I'm gonna use the lens corrections, and I'm just gonna increase the purple amount. We can see it's not disappearing because more than purple, this is orange or red. So I'm gonna move this to the right and you can see that now it disappears and the same with the green. I'm gonna increase the green amount and you can see this is more scion than green. Move this to the right until disappears. I'm gonna increase this just a little so I can get that green color as well with all this range of greens and science and just click. OK, and now my chromatic aberration is done or is gone or almost completely gone. It looks OK now, but we still have this one pixel to with this white color, which is not what we want. You can use either shadow to mask that, but let's use the refined. And so it's like the little mosque. And if you right click, you will find a new option that says infrastructure. See, it's called Selected Mask. Most like that you will find if you have another version of photo shop, refined edge or refine mask or something like that selective, and this takes us to the refined edge screen. If you have ah, really old version of photo shop, you'll probably just have a small panel in newer versions of photo Shop will have this on full screen, which helps a lot. So here we could use the detect edge or the smart edge. I don't want to use a smart radius and stuff like that. All that I do just sit, shift the edge a little and increase the feather. Yes, well, it's soft ins, my edges, and I'm gonna increase the Contras, not toe. Make them sharp again. And if you wanna completely remove the that tone of color, what you can do is choose decontaminate colors and with that photo shop can see masks Day so you can reduce the father and the shift edge a lot. And that will preserve mawr quality while more detail, more detail story on on your image. But sometimes it's not working perfectly. In this case, in some places is not working really that good? So is re up to you how you use that? Um, I don't really like to use it that much, but I think it works better than having this white and rest. So in this case, I'm gonna let it on Usually. What I would do is just she If the ads like this increase the feather and the contrast quite a lot. And then on areas where I can still see that white, I would click OK on by default. It creates the 2nd 1 because I have the output to new layer with a layer mask. What I would do Just go to the little mosque and manually get them, Get rid of this for ah, for manipulation, for a better result. I would do this, but for this it or I'm gonna live like it is because I don't want to spend that much time. But that's what I would do. I would just go and patiently remove everything like this. I like to pay attention to details, but on the original, I even left this area over here. So makes you you remove this as well. With the okay. With a magic wand, you can remove it. I'm just going to show the areas where where we have to pay attention. But, Felicity, I'm gonna skip parts like this because let's move on with the tutorial and and create the effect Can still you can see that it looks pretty decent like it is right now. With just 45 minutes off brushing, you can get a perfect result. So we have the sky and the plane masked and but we still need Teoh ADM or Elements. So let's continue with the composition and add the rest of the elements. 4. Adding more details: So let's add our wanderer here. I'm gonna open the stock Fuller again. And this is the image that I used for this it or I'm not going to cut him from the background. I'm just gonna show you what you can dio. I use the panto. Okay, this is the image. And I use the panel to create a path around him. And I selected the fire with the quick selection toe and you will see the selection that I have right now. I'm gonna get it from this document. So let's select that mall. This is the image I can see how I cut it. Really basic cuts there. And I'm gonna move it to my document over here, and I'm gonna apply the little mascot. I know it's okay. Later. Mosque is perfect. So I'm gonna put him right over there, and now I'm gonna convert it into a smart object and I'm gonna make it smaller. I don't know the size of him, but most smaller, even something like that. I think that is OK. Keep in mind, I'm not caring about the proportions. Making him smaller will create more impact on your image because it looks like this is a really giant airplane. And this guy has lost around here and it finds this giant plane. So that's why I created this man so small. Maybe that's a little too small that let me check the original so I can see more or less Yeah, more or less there. So now have the man over there. Let's adds the rest of the almonds. I just had one fire, their campfire and a tent over there. Let's add that I'm gonna open the fire image. It's from on splash like the rest of the of the images. I'm gonna cut it and put it right over here. That's a rename. Always. I send this one to man and this one to fire, and I'm gonna make the fire small a lot smaller. I'm I'm gonna change the bottom of the screen so I can see better, because the background will go away. Not completely, but almost. Let's see how big it is, more or less there. Maybe I'll have to make it a little smaller. Let's see, more or less they're on. Yeah, a little smaller like that. If you're not sure about the final sizes you're smart objects and that where you can make things bigger again without losing quality. There you can see that the background is not completely gone. So I can press controlled Mandel. And just quick, the dark eye dropper toe and quick there and it's gone. Or simply move this to the right on. That's it. Okay, so we have the sky there, the fire where you got the letter mosque? Because I want to remove this hard and see that we want to remove that. So use a soft brush and with the letter mosque pain with black to smooth and that out and the same on the left side. And we're gonna deal with your facts later. But we have the sky there. And if I think this is ah, this is from the lens. So what I will do is probably just paint on the letter of the plane itself to get rid of that OK, and now have at the tent. I added, I added that from pixel squared, you'll have the image on the stock folder, but I'm gonna show you how I created that. So basically what I did is I created a new layer and have the pixel squid plug in installed . This is a stock, A stock side that provides three the elements which you can spin around on your image. This is the least that I created with some of the elements. It's not freed. Have to place a monthly or yearly subscription. I have an active description right now, and I can add objects from here. I added this from my light box. You can search and this will take you two pictures we dot com. But I'm gonna add this tent, you'll have the right angle and have this file on the stuff follow. So you don't have to buy a subscription and I'm gonna leave the shadows on. And I'm gonna use the high resolution and you will see that when I spend this around here, it's gonna update my smart object to include a high resolution when I up. When I spend this around when I let go, this is going to update my object on the campus. I'm gonna This angle, I think is correct. I'm gonna let go and you can see that updates my smart object and it adds my a tent over there and I have to make it smaller 100% off its original size while a little bigger. Okay, Something like that. And if I were to spin it around, this is a smart object, so I can go ahead and do whatever I wanted when I come back. I still like that later, and I can spin it around if I want to. And you will see that it updates my, uh, my smart object. And it's going to spin it around to the angle that I sat here. So let's leave it how it was. Well, I think that angle we're done now have everything that we need on our campus. The next thing we wanna do that we have to do is create the light effect for the fire. So we're gonna first create the light effects for the fire and the man right off here. And then we're gonna create the effects for the windows, and then we're gonna integrate everything here to look better. But first, before create the light effects, we're going to create the some adjustments for the plane and for the stent over here. 5. Scene adjustments: Let's get the first adjustments for this. We're going to start with the plane. I'm gonna locate the plane where I'm gonna remove the copy, Okay? And I'm gonna get the new layer on top, and I'm gonna clip it with all you can create clipping mosques and I'm gonna name it playing shadow. Although we're gonna create a shadow for part of the off the ground itself, the terrain as well and less like the brush to. And we will use us low opacity and flow 20 and 20. Maybe we're gonna have toe lower it down. Maybe, but for now, we're going to use that. And I'm gonna use a soft brush in a really big one. Like so. And now I'm gonna paint. Just gets too strong. So I will lower the flow to 10% and paint again. Just paint on the bottom part of the plane like that a little. Since this is clipped, it's not going affect this sky, okay? And it's not going affect the tent either. Eso just paying the on the bottom part over here like that, with a really big soft brush with the edge of the brush just being like that and add some darkness to it on the far as well, like that looks that looks good. Okay, see that before and after that makes things darker. And now I'm gonna add a curves adjustment, and I'm gonna add it on top just at kers. And I'm gonna click that press this icon or again with old quick and I'm gonna give you the values that I have for the curves settings on the RGB. Create a point somewhere on the line there and said an input off 111 and output 88. Next. Another point with input 179 and output 178. This will darken things even more. Probably it's better to create first the levels and then paint. So you know how you know the amount of shadow they have to paint. And then the Blue channel here I created a point with input 18 and output 23 then another point for highlights with input 189 and output 183. And you can see, uh, what we did with the curves now looks a little, a little bluish on the shadows and have this yellowish tone for highlights and everything is a little darker. Maybe this shadow is a little too strong, sought, probably dropped capacity. It's better to create the shadow. After you create the occurs, so have the settings for the plane. Now let's work on the tent. You can see it's really bright and it's not looking that integrated on the background. So let's locate that here. I'm gonna give you the settings that I have. I used layer styles for this, and I'm gonna open that double click. This will open layer styles and here will use in a shadow. We're gonna have to create the rim light that creates the fire here so the fire will cast a light on here. We have to create that. Use an angle of 180 degrees. Make sure you're on check Global use, global lie we know needed. And the caller said the color dodge and the call that we're gonna use here will depend. Actually, we have to change the color after we dark in there. So that's dark in this first, let's use a color overly using a passively off 55% blend mode set to soft light and we'll get a color code that I have. It's 262938 26 29 38 These dark blue said on soft light and you can see it darkens this a little bit. Now we're gonna other greatly and overly because we want to create a shadow on the left on the right side because you can see there's nothing here, just darkness. But on this side we have the fire. So this part should be illuminated and this one should be in shadow. You campaigning manually if you want. Here, we're gonna use foreground to transparent. Make sure the foreground color set the black first. So if it's not, just click OK selected. But this the black and go back to the grating overlay and just make sure that you have a default. Grady in here for run transparent angle, we want an angle of zero degrees cause we want the shadows to come the shadow to come from the right side and probably even like something like that. And we're gonna set the blend mode to overly. You could see how it looks like it darkens that part and it creates this sort of, uh the texture stands out a little more and it looks like it's dirty, which is okay, that's that school. And I'm gonna use the low rapacity about 35 or may 40%. Maybe we have to look until I changed the values there. But next we have to add a color solid color on top of it. And when a clip it And after we had this, maybe you have to come back to the later styles. But I'm gonna give you the code for this. Solid color is 45 49 for a This is a color code that I used and I use the blend mode linear light. Now you can see this darkens this a lot. So probably if it's too dark, you can probably come here and see which later effects the most and probably changed tones . Or maybe on the color, overly, maybe changed capacity a little. Or maybe here use a broader value. Because maybe you don't wanna dark in this that much increased something like this, or you can even use other blend modes. Maybe hard light could could work nice or let's see vivid light vividly looks nice because it adds more contrast. But it's too dark. So yeah, that looks and nice to me and we're done. The color is too strong over here, so probably with a layer mask, you could get rid of some of the effect using brush, being with black with a 50 30 opacity. Maybe that's too much. One click there on. Just create something like that. Okay? And now you can go back to the layer styles and maybe change that inner shadow distance for I think it's OK. Sizes too big and maybe use a brighter tone for that color. Anyways, we're gonna add a paint a light there next. But for now, I'm gonna live it like that, and you can see how that looks now with that color overlay that solid color and I think it looks better. So these are the first adjustments that I created next gonna create the lights, the glows, and for the fire and the lights, a model illumination off our scene 6. Create the lighting: the elimination of this manipulation is pretty basic and pretty easy to create. We're going his blend modes and the brush We're gonna paint the light manually and let's start with the man we're gonna create first the light of this torch and the light of the fire and then we're gonna create the light on the ground So that's locate the manlier And here, let's create the glow first. As I said, I'm gonna get the new layer and I'm gonna name this fire light. You can use the original image to reference. Just locate that image I'm gonna open in photo shop. And if you zoom in, you can see the kind of glow that it has. Um, actually, you could use, uh, this same image and copied over that image and use the screen bland mode. But in this case, I'm gonna painting manually. But you can use this as reference. Uhm I'm going to use the brush tool and I will send the opacity and flow off the 100% 2 things You two main things you have to check when you select the brush every time you see like the brush, you have to check the rapacity, the flow and the mode. Because sometimes when you work, especially when you change the bland most sometimes you forget about that and start paying . Then you can see does re strange things where you were the things and you don't know about Why. What does that So usually it's because you don't have this set correctly. So for this capacity and fluid, 100% blend normal, and I'm going to use a dark time. We're gonna use the same process that we use on other tutorials and other manipulations, which is creating an inverted glow off light. Basically, you start with the low collar with a dark tone with the big brush. Soft sadness had two hardest at the zero and just paint once their first. Make sure you have the later set the screen and I'm gonna do it again. I think it's too dark the tone, so I'm gonna use something a bit brighter. Thanks. So and I'm very do it again. So that glow is enough. Now I'm gonna make the brush smaller. You're not going to be able to create this glow. You can see it's more saturated here, and it has a hard transition, but you will not be able to do that here because the background is brighter. Hear the background is dark and you can create that. But here, if I tried to do the same, I could paint with this with a really bright tone. You will see that the effect is not the same. It's looking fake. So you better create something round like that and something really bright for the for the inside, like so it's too right. Something a little darker like that. And in writing the middle, something really bright like that. Okay. And that's enough for this glow. That enough here for the fire? The same. I'm gonna use the same light firelight later. So leave that there and I'm gonna do the same, but we just two clicks. First, I'm going to use a dark town that's too bright, something darker and a smaller brush. One quick there and then something quite bright with a smaller brush. Click there and we're done with the fire. Now we have to create the light on the ground. The light that this glow casts on the ground here and here on on the plane over there and right here on top for that, we're gonna use a different blend mode and a different layer. I'm gonna get a new layer, and I'm gonna name it, um, ground light. And this time we're gonna use the color Dodge Bland mode again. This image could work really well as a reference, you can see that the fight while the light here is really soft, has this color and here in the middle off the light will have the shadow off the man. So let's try and do that. Let's start with the ground light and then we create the shadow. We're gonna use the brush tool, and we're gonna use a pretty bright tone. You have to make a test first. So select a color like this and start testing this with the brush opacity and flow 100% paint and see how it looks like it's too strong and stoop, right? So let's diss saturated a little and dropped the lightness a little a little bit and try again. This looks a little better. And for the outer for the outer effect that looks pretty OK for me. Maybe even a little darker and more saturated. Let's try again. Yeah, that could look nice. We can do the same process. Eso Basically we can create a darker tone for the out. Aziz. We go away from the source of light and then a stronger effect as we come closer to the man . But first, make sure that this ground light is under the man because we don't We don't want to paint the boots there, so make sure the ground light is under demand and I'm gonna use a big brush for this. I'm gonna use a big brush like that, and I'm gonna paint actually gonna pink here once one click there and then I'm gonna use a brighter tongue and more saturated and maybe a little more orangey in the middle with a smaller brush like that. And now I'm gonna press control command T I'm gonna move that right over there, and I'm going to squeeze it like that. I put it right over there and make it love bigger like that when I zoom out a little so I can see better and squeeze it just a little more. You can even warp it If you wanna extend the outer parts of this a little more like that and create a more realistic shape. If you want to click, OK? And I'm gonna move it just a little lower because I want this bright light to be right under his his feet right over there. Okay, Now we have the first light over there. We're gonna use this ground light to create the light for the fire and also right over here . But if you're not confident that you can do this without screwing up, you can create a new layer on color dodge and make each light on its separate on a separate layer. But I'm gonna do it on the same light. Now check the color off the light over here on his arm. He concedes more orange. I'm or yellowish. Here we have this almost right. So we have to added that pressing control, Manu, This opens a hue saturation, and we're gonna change the huge to make it more or yellowish like it's on his arm right over there. Okay, Now we have the light effect on the ground. Let's created here as well. It's like the brush tool, and in this case, we already have some light over there. So I'm gonna drop the opacity and the flow of the brush through 50 and the flow to 30. And what a paint like that. All these colors to red. Let's move. It changed the hue to something more orange and probably drop the opacity even more to 30. Okay. And just I think they're a couple of clicks. And now we also have to at some light on the tent itself. Eso probably the 10 should be under its locate that it's right over here. There's two layers. I'm gonna move them under the ground livelier ground light right over there. So now I can happen on the ground light. I can being on the 10th as well. And here also wanna paint on light on the surface of that, renting multiple clicks on the same spot Will head will make the thing brighter. Because remember, I have the capacity said to just 30% so I can gradually increase the mild as I as I click. OK, we'll have the light over there. You can see how it looks like. I think it looks more realistic and now have the last light right here. the one that I have to paint here on the plane because they're quite separated from from one another. I can paint on the same one, and you raise this with the razor without affecting the bottom one. Here. I want to keep the light on Lee on the plane so I can load the selection of the plane control click. This will load the selection. And now, when I paint on the ground light layer, I make sure that I don't paint on the sky because it's not selected. And I'm gonna increase capacity to 50 and leave the flow to 30 on just the big brush. Just being like that, a couple of clicks here and there and start building up the effect. Okay. Like that they were done. It's not the most realistic lighting effect that I ever created, but I think it looks better than without That s o. You could see the lighting before and after next. We have to create the shadow off the man. For that, we have to great the new later below the man and above the ground, Lightly or so. Let's go to Mueller. And let's name in man shadow and again I moved to this image for reference. You can see how the shell looks like it has this really Elon gated shared this long shape of here and here to Leela. It's fading off, and the strongest part is right over here. So let's trying to the same manually, like the brush. And I'm going to use a 50% hardness for this and the opacity. 15. 30. We're going to start with that to see how it works, and maybe we have to change it. I'm gonna use a really small brush like this and color black. Now I'm gonna start painting here. It's too strong. The hardness. I'm gonna make it softer. So just paint like that and here is not looking realistic. So I'm gonna delete that with your razor on. Do it again. If it's too strong, just drop the opacity and build. In fact, more gradually if you need to. Okay, so and actually, I need to do that as well. I'm gonna put the flow to 30 and capacity to 30 and floated 20 so I can gradually build up the effect on Go back to my reference. You can see this one is a bit high, as taller, and here it's a little slimmer. So thus create something like that. And I'm gonna use a bigger brush and last passes as I fade away. The effect and I could even maybe used the the shadow itself to remove the light underneath so I can control quick that and I can go on the ground light and delete the light where the shadow is and that will give you a better See that that gives you a better effect because he's not blending with the light. Maybe that shadow there it's a little too strong. I'm gonna leave it there. Anyways, I think it looks better than without it. Okay, so now that we have the lighting, we have to create the lights for the windows, which is what we're going to do next. 7. Lighting the windows: So for the windows, I'm gonna create a new layer that's locate the plane. And we're gonna create that on top of the plane because that way we keep everything close to the layers that they belong to and has named his window light or just window windows. And I'm gonna use the I don't know, maybe the believing a lasso tool to create a selection around this like that. And I'm gonna press and hold the shift key and create there's you can use a quick selection tool. You can use the magic wand. You can use whatever tool you want. I'm gonna use the this last so two and with the sheaf G, you can add areas to your selection. Okay, so I have the selections here, and I'm gonna fill this with a solid color. So the color code is B 38 34 9 This yellow. I'm gonna all backspace Pressel backspace to feel that that selection with this color and now I have to go into the layer style. So double click on layer, it will open its layer styles. And here I have inner shadow, you know, glow. Sorry. And for the bland more. We're gonna use color dots. Do what? This will light up this as you can see right over there and the color that you use should be, well, a random yellow color. Pretty bright like this. And just increase the size until you don't see that shape over there. So increase it quite a lot and make sure that the ranges to 100% and I'm gonna create the delight while actually make it just a little darker. Like so And next I'm gonna activate outer glow here. We're gonna use the screen blend mode again. A random yellow colored, the darker it is the last effect you will see. So you're something from more or less Here, click OK size a pretty big size, 150 pixel or something like that, and the range to about 50%. If you said it to 100% you'll have almost no effect and have it do zero. You'll find you'll have this effect which is know what we're looking for about 50% because now we're gonna Christian new layer and I'm gonna name it Windows Light and here I'm gonna put this on screen and I'm gonna use the brush toe and just create the same thing that I did with the outer glow. But I'm gonna paint it on top of the off the window itself. But see that colors. It's enough capacity and flowed 100%. And of course, it's too strong. So use a dark tone. Maybe something like that. Let's see how that looks. Yeah, looks a little better, but I have to paint it a little higher up there. Now, I'm gonna make the brush smaller. A couple clicks. We're just one with the keyboard. No one there. And the less one there. Okay, so we have the light for our windows. I'm gonna go back into the layer styles because on the inner glow, I still see that circle here from the from the inner. So I'm gonna increase the size quite a lot and dark in it. Just a little more. Okay? You don't wanna have any transitions here. Okay? So that's that. Those are my windows over there were down. Just I just want to make the color slightly more orangey. Let's see if I can do that from the inner glow and from the outer glow as well. Okay, we're done now. Okay, let's move on and start making the first adjustment. But I forgot to add the moon there. So let's let's add that I forgot to add the moon. Sorry for that. When I created the when I created the background. So you should you should have added that one creating the background just so like this photo over here on and just copied on your canvas that scroll down, pasted on top off sky to and we have to make it smaller. First, I'm gonna convert it into a smart object and I want to change the by amount of it to screen . This will make the black background go away. You know, I can make the moon smaller and place it about their The size is really up to you, but I don't want to make it. I don't want to make make it too big because my focus of attention I want to beat this man . So I don't want this to still attention from the main image which is here. So place it over there and that's it on. That's how it looks. The moon. So we're done. Let's move on and create the final adjustments and create the final look for our manipulation. 8. Making the final edits: way are at the end, off this manipulation at the final step, which is creating the final adjustments. I use color lookups for this. I use lots of color lookups on my manipulations, and you will need for the shop CS six, at least in order to use them because they introduce the car. Look up, adjustment in photo shop, CS six. So I'm gonna select the top most layer on my list ballot, and I'm gonna add a color look up. And here I will use one of the precept that I created myself. I created the PAC called Portrait Reported Awesome. And I'm gonna use the preset that I have there. So I'm gonna select, be as the box and you can see PST box. This is the fact that I created myself. You will find this presets on the stock folder. You can buy the whole back if you want from my website as well. But you will find the presets and all you need to do it just quick here. And she was low treaty lot and locate this files that you can see here. The final names are here, and the 1st 1 that I use is the PSD box B a 26.3 D l. I'm gonna select that and you can see the effect that it creates on the image. And I will leave the plan more to normal and said the capacity to 35% and next I'm gonna is another color. Look up, this one. I use the preset be a lightness. This will add more light and create this effect on my image. Again, I'm gonna live it on normal. At 35% you can see the effect that I created already with just two adjustments. Next, another color Look up. The last one and this one. I used the preset B A 19 and I leave it on normal at 60%. And see this recover some of the color and creates this fact that you see right over here. Now we're not ready yet. We're not done yet. Now I have to create a new layer on top of everything, and we have to merge all the layers onto this layer. And you can do this with keyboard shortcut, which is shift all control E or shift option Command E on a keyboard on a Mac. Sorry. This wolf stamp. Get a stamp on this new layer basically emerges everything onto this new layer. And now I can use the camera raw filter on this. If you don't have four shops, we see you will not be able to use cameras. The fielder And as I mentioned on my previous tutorials on many actually, on many of my tutorials, if you go to file, can choose, save as and save this image as a tiff file. So here on format, choose tiff and disabled layers and Alfa channels. You don't need that. Give it a name, save it and then go to your folder and open that file back in photo shop. And it should open in camera raw because tiff is a type of raw format, and when you open raw images in force up automatically, photo shop opens them in camera raw. And here the settings that I had that I created here, sliders and everything. I created a preset. And if you click this button over here, if it's not here, if you're using an old older version of photo shop, maybe somewhere else around here just just low presets, loadshedding sorry. And inside a stock fuller, you'll find this final file called Wonder that under school final dot ex MP. Just load that and you will have the same settings that I had. You'll see that they will not work the same on your image because it depends on what you did. How how you did the manipulation. But you can tweak this and added it and do it your way, and I'm gonna add it. This because it's not going to look the same as on my original image. I also used Ah phew, radiant. So I use the regaled radiant here for the color of the fire and glow. So here, one you create this, just click here and choose reset local correction settings. This will set everything to default, and you're ready to start editing first, I will increase the saturation and also the exposure a little bit. And also the clarity just a bit and also the temperature. Because I want to create this yellowish tone off light and I'm done with this. I'm gonna create a new one here, uh, pretty much the same settings. Except I don't want that much saturation and less clarity If you change the the haze toe negative values, you'll create glows of light, which is not exactly what I'm looking for. Minus two. That's okay. And I will live in like that and this part over here. I don't like it, so I will probably create the great deal like this. Put it right over there and probably a little smaller. Um, make sure that you check this to inside because I'm editing the inside of the great and not the outside. And here I could change the tent to send to something like that. Probably highlights. I could lower them a little bit. The exposure. I'm gonna leave it to zero and increase the clarity just a bit and something like that and probably saturate this a little more. Or maybe not that much. I'm gonna actually this to how it was, because I will be able to change that with the general settings. If I go back with the hand iconic and go back to here to the split toning and on the highlights, I can change Hue here. Okay. Something like that. And there, here on the camera calibration. You can make all sorts of corrections for your colors and changed the aspect of them. You can see that I'm gonna live it there. Probably my colors here are not looking the same as on the original. Also, maybe more force crop vignette ing and the mid point a little. Maybe there. I don't like the color that it gets here. And that's from this slider over there and from this one. And I'm gonna live like that and just click, OK? And this is my final result. It's not looking as this one. This one has different colored tones, but it looked pretty good. This one is more saturated as well, but I think it's a really nice result either way. So this is the final result. I hope you liked this tutorial. If you have any questions you can ask me, I'll be glad to help you if you have any questions about any of the techniques that I used here. And also make sure you submit your design so I can see s so I can see what you've done. Thanks for watching and see you next time on the next tutorial