Long Way Away - Manipulation Tutorial | Andrei Oprinca | Skillshare

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Long Way Away - Manipulation Tutorial

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

6 Lessons (1h)
    • 1. 1 Create the background

    • 2. 2 Blending and Light

    • 3. 3 Road Sign

    • 4. 4 Perspective

    • 5. 5 Shadows

    • 6. 6 Final Effects

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About This Class

In this tutorial you will learn how to create a conceptual artwork in Photoshop using manipulation techniques to match colors and contrast using blend modes and adjustment layers, light effects and perspective grids. This tutorial is intended for intermediate level users. 

You need to know how to work with layers, masks and how to create clipping masks and adjustment layers even though I explain everything in detail. The tutorial was made in CS6 but it can be followed in CS5, CS4 and CS3.

This tutorial consists of 6 parts

  • Background set up (create the structure of the manipulation combining all the stock images using masking)
  • Blending and light (explaining how I used layer styles, blend modes and adjustments to blend all stock images)
  • Road sign (shows how I created the road sign and added the texture)
  • Perspective (how to create a¬†perspective¬†grid so that you can¬†realistically align elements into perspective¬†)
  • Shadows (creating the shadows for the man and the road signs)
  • Final effects (using adjustment layers and filters to create the final HDR looking high contrast effect

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. 1 Create the background: Oh, hello. Welcome to another photo shop tutorial in today's video. I want to show you how I made this simple manipulation in photo shop. What is quite powerful in terms off what it expresses and you can see the colors, the contrast and the light effect. The concept of this artwork is to illustrate the idea of distance loneliness on. You could see all this empty space here and this road signs along this little track, and I want to enhance that even more by casting the shadows on that direction. And you can see all these converging lines. Eso that's ah compositional aspect to it as well. This is a video that's only available for premium members off the Web site. So thank you for supporting many my website on the file that you download it. There is a folder with the stock images that I used and also the PSD file, and you will also find a link to the article on the website so you can post a comment and give me your feedback, or maybe ask for help there police. It'll make the image a bit smaller. I used for this original pft file. I used the original file the original size off the stock image of the rial tracks. But I had to scale up. The man on you can see that it becomes really pixelated and I don't like that. So make the image a bit smaller. So that been said, I'll close this document and start over again. I'm using for the shops here. Six. But you can. You can do this in photo shop of CS five, CS four CS three. So pretty much any Photoshopped version all the way down to four shops es three, I think. And I started by opening this stock image of the real tracks. And, as I say, don't make it smaller self breast load the image size. You can also do that from I don't feel this manual too often, so I think it's on image image size. I always use the shortcut diesel quicker and reduce the hype lift. This locked the aspiration and I said hi to 900 pixels only, and I'll open that PSD file again because I want to show you something. And while one of the objectives of this tutorial is to show you how how to get this kind of look on your on your artworks. I'm sure you've seen our manipulations like this one where they're quite unsaturated and have this high contrast on them. And I just I would like to show how, how how did this kind of effect? So I'll close this again, and the way we will do this is and all the stock images at once and then make all the adjustments to all of them to make them blend together. So first opened this image of the rail tracks and then go back to the stockholder and opened the sky and the background. So once you have the background and the sky opened, go back to the stock image of the tracks and converted into a layer. You can do that if you right, click and select layer from background, or if you press and hold the bulky and double clip earlier, and he will unlock it and converted to a normal there and create a Liam asked for it because we need to mask all the background here and only this tracks so so like the brush to make sure you have the foreground colors have the black, the opacity and flow to 100% and use a soft brush. So back to the little mask and zoom in a bit and just start deleting this to make it quick recon. Use the marquee tool. Select the top part like so compressed Altan backspace to fill all that area and now just refined the mask using the brush tool. We will adjust this mask after we had the background, but just a rough masking here. And I did that now because I want to know where I can what I have to put that horizon here off this background, so so that these background this is a premed background. So it will be a lot easier for you to work with because you don't have to make too many adjustments to it. And I'll paste it under the background here under this the tracks and that you can do that . If you hold the control key and click this new nuclear icon, the little will be created below delivered that you selected and I can press control V to paste the image or added based, and now I can I can go to the free transform with control T and scale. This image likes so and I can place it here. Now I can see where the horizon is, and I can a justice. However, I want something like that and you can leave this guy if you want to. But I wanted to use this one. It's a bit more dramatic, has more more texture. So go ahead and copy this one as well. Close the document. All close this one as well. And I'll pays this under the background. So let's name this background tracks and began control. Hold down the control key and clean the newly ripe on its name, days and face. This kind there right now is not visible because the background is on top of it. But you find his able. You can see that disguise their I have to make it way smaller. So again, load the free transform and scaling down, and we'll put it some of you. I want to have this glow of light here in on the far end of the tracks because, um, that way looks better. We have all this on this darkness here and went into the least is we have all this life And at the end, when you're when we are done with the with the manipulation, we will add way will bring some life here. I'll go ahead and activate the background later again and create a layer mask for it as well. And I can use the brush tool to mask this, but it's all easy refused the great gentle Select the Grady into makes you have black to white and select the linear type and zooming of it and quick summer here and drug drag up like so to mask. Mask that and maybe even lower. So I'll do this again, something like that. That way, we still see some of the mountains there on the background. Once you have the main background, you can just layer mask the off the tracks layer so you can select a soft brush and make maybe make it a bit smaller. And start. Uh, you're raising this edges here. Using a soft brush is really is highly recommended because you will have better blending between the two layers. Let's get rid of that as well. The brush size that I'm using is about 30 pixels, but I'll have to increase it here because this area is a bit bigger and I want a smoother transition and towards the end you can make the brush smaller and you can increase the hardness here a bit. I'll switch the color to white because I want to bring back some of the collar and switch back to black to take care of the edges. Maybe make it even smaller and with quite a bit here. So try to get something something with this. And they said We have to add all the elements so we need our man Here are old man standing there so I opened its stock image. It's a shame that it's a really low resolution image. It's really good, but it's a bit small. That's why you have the small camp size, so wait for it open. And we will use a really simple method of extracting the man from the background, which is using the magnetic lasso to. So I have all said the with two about Let's see five or six big souls contrast said to 25 maybe and frequency to 100. Yes, quick on a draw passed around. Man, if you want to move the image you have to president and hold the strays bar. That way you will see the mouse turns into a hand and you can click and drag image. And when you let go the space bar, you can't continue with the tool. We will use the brush tool after to adjust the mask. But this is the first, the first masking something that is not doing a really good job with the image low resolution and maybe also because increase the contrast tactically more often to add more points. More anchor points. Something went wrong when I press space bar. No problem. I can't fix that with the brush tool. I closed the selection quick. This were masked icon to master background and so that the brush to and take care of this part. If you want to switch the aspect of the project impressed the caps lock key. You can see that it changes. It's called a high precision cursor or something like that. But I have to use a really hard brush because I want hard edges, you know, probably masked this part here as well. Let's see what happened here. I missed the part. If you want to be able to deactivate a layer mask. You can press and hold the shift key and click the layer mask and you can disable it and Breen ability to click again. I switched the color to black and a mask, this part in between demands legs, and I just use a small brush to mask this part here, and he's going to bring back some of the some of the mast area switched Dwight, and that's which Beth Black on fixed the area. OK, so that's our masked man, right? Click on the later mass can select apply layer, mask toe. Apply that layer mask and now I can use the Marquis to selected and press control seed to copy it and go back to my document and paste it here and you will see that some areas need . I need some touch ups. I'll use the razor to so you can use the refined agile. But this just a few lines here. I don't I think it's all quicker using the directly d using the de raise a tool. And also get rid of this white line here, see what else right here on his coat. Okay. Something like death and others say that you still have to make it a bit bigger to about 120%. De. That's the aspect issue there, and about that we're still way lost some of the quality, but that's what it was. I wanted to use a free image instead of instead of getting one from from a paid stock site . And if you want to make it look bigger, you can place entire here, but let's leave it there. 2. 2 Blending and Light: So once you have all the elements on your canvas, you can start making adjustments. But first, let's rename this to Old Man. We still need to add those road signs, but we'll do that after we make the adjustment. So the first thing well we need to do is switch the light, so I'll start with the tracks layer. I want to add more light in this part and more darkness here and also in the man. You can see the glow of light on the skies here, so we need to make this part of the man brighter and this one of it darker. And we will use layer styles for that. So I'll start with the tracks. Click on the later toe, open the layer styles on, and we'll start by shifting the light. As I said, using color are using Greg and overly sorry, said the angle to 90 degrees and with the ingredient to black and white, but reduced the scale to 70 about 70%. And make sure you have the color set to black and white. So and change the band mode too soft flight. And that way we add more darkness. Year and a bit more right there. But the effect is too strong, will reduce the capacity of it. Something like that. You can see five. Deactivate that you can see the effect. The next style that I find is a color overly, and I use a specific color on this is a code 616 976 There you can use a color similar to this one up. You don't have to use it the exact color that I used. So then I changed the blend mode to color because I wanted the tracks toe have moral as the same color as the background and the sky and reduced the capacity to about 45%. And now you can see it that these tracks are bland, a lot better with the background. So that was the before and after adding the layer styles. I didn't make any adjustments to the sky because it all really looks nice and the background, all the elements blend well together. Also, the man's code you can see it's the same color, so I'm already going on that monochromatic look them that I'm after after adding all these elements what I did is May I made some general adjustments, so I did the hue saturation adjustment later. And all these adjustments go below the old man layer and I d saturated to minus 30. And the reason why I do that is because I want to emigrate and map and great. And maps work well on on de saturated images because I will also use a band mode and when used blend modes. If you make start to make scholars on Obama what they don't realize it that way. I'm landing a greedy in map with with unsaturated image. You'll see that in a second. Right after that, add a grated map and can I use the I used specific colors to remap the colors of the entire scene, so we used the shadows 5755 for teeth and for the highlights that used another coat on click. OK, so you can see that highlights are a bit brighter than the the Gen Shadows. And now change the blend mode too soft light, and you can see that thing effect that it has. It has a bit more contrast on the entire image, and it makes it look a bit more yellow. Last adjustment that I used is a curves adjustment because I wanted to add a bit more right , Grady. A map and a few situation made the whole image a bit too dark, and I wanted to bring back some of the off the lights. So I added to control points on Summer here something like that, and that it brings back some of the light. But we still have that contrast, and the colors and everything glands really while together. How? Let's go with the with the man, I said. I also used layer styles for for this layer for DoubleClick, later helping the layer styles on. The only style that I use is ingredient overly set the angle to zero degrees and since the capacity to about 30% and change the blend mode to overlay. And that way, if I deactivate this, you can see how the dark part becomes on the brightest part, and this part here on the left becomes darker before and after using this black to white grade. Any hefty is low capacities when using the overlay mode, because if you use a big high capacity level, it'll start to add too much light here. 30% in this case is enough 3. 3 Road Sign: Okay, now that we have the main elements on the scene that's at that road sign and start adding some some meaning to this to this manipulation to create the polls I create, I used the rectangle tool we can use the marquee tool and filled with color Doesn't matter . First, great earlier on about the man the man later and creates, or a tangle like this one. Something like this. And now you have to use the textures from the stock folder. I open both of them because I'll need them actually opened one at a time. This is the 1st 1 I'll copy a part of it because I only need a part of that to add to add the texture so I'll close. It can close this image as well. And out based that thanks you hear above the rectangle one which are name Oh, and and now I only want this texture to be visible on the pole itself. So what I will do is create clipping mask, right click on it and select create clipping mask. And that way we only had that texture visible on the surface of the this rectangle here, and I also want to make it smaller because it's too big. And I wanted that texture to be smaller. So next first make it a bit bigger, big, bit taller. And maybe now the texture is a bit too small. No. Okay, so the next thing that I will do is at, uh, the sign itself. And I use is talking Mitch for that. So inside the stock folder, you will find this images. I used this blank one. You can use any of these ones. So I opened this with full shop and select the top the top shape. First, make sure I get the entire shape and copied and off based it here. And of course, I'll have to make it smaller on again. I'm pressing and holding the shift key to constrain the proportions and put it here. And if you want to resize on the center here, have to press and hold the shift and the bulky I don't know the Mac combination. So sorry for that. If you're a Mac user, that's the sign there. Put it higher bit so and that's copy the bottom part. Also like the bottom part, compete and go back to my document and paste it here and again. I'll have to make it smaller. Something that you have to make it even smaller. Still too big. Okay, that looks nice to meet. Let's rename this to sign Juan and just want to sign to so sign to is this one and sign one . Signed One is this one. So let me put signed Teoh below it on that wagon. I know that it's the bottom sign. No, that's I have to make adjustments to these, of course. But we have to make some changes to this design to wear because I wanted to add that big number here. And this is this play here. This board is too small. So what I did you select the rectangle marquee to for that part of it. So right, click and select later via Kat. And that way I got that part on a separate layer and then go back to assign to again and selected the other part and do the same so later via Kat. And that way I have this part's here. Little name are for right and oh, for left. And what I'll do is separated like that. If you want to keep them on the same level, we compress and she and hold the shift key and click and drag like so and they move on Lee on the on the horizontal plane and now, with the sign to what he can dio is again, press and hold the shift key and move it towards this one. And now you can duplicate this later, so I compress. Let's do it with the keyboard shortcuts, press control and J. And once they have the copy press and hold the shift key and move it there and what I'll do is flip it horizontally. You don't have to, but I do that that way. The texture fit perfectly, but it's not necessary again and do pretty that yet again and put it there. And now I have that this big sign, and if you think it's too, it's too large, you can use that. Let the ar layer, which is the right side, and put it there. And maybe I wrote this one there and I have all this layers here, which are for the sign, too. And if you if you think there it's, it's why enough. It's like all the layers and press control and e and you merge all the layers, and now everything is in while there. That's how I made this wide rolled sign here so that I can put that big number there. And you can also centered them if you want Teoh so on moved them. Okay, so that's how I added the sign there. Now we have to make adjustments to that. Remember, Now I have three layers on the pole, the texture that's a clipping mask so that it's only visible on the on the pole itself. The sign to wear, which will have to rename, which is this one. And sign Juan, which is this one. Let's go to the poll there because we need to make adjustments to this. The first adjustment that I want to do is to make it look a bit more three D. So what I'll do is use Grady and overly zoom in a bit, said the style to reflective and said the angle to zero degrees You can see now I have to reverse this so that I have the dark sides, dark areas on the sites and the light in the middle you can choose the land mode. Let's see soft light or overlay. It's too strong. Let's see, multiply. This one seems to look nice to me quick, okay, and one other thing we need to do is de saturate this so that it matches the background. I hope so. Let the poll texture, which is the clipping mask for the whole layer and go to the adjustments and so that hue saturation. And you'll have to make this here saturation, clipping mask as well. So if you press and hold the al turkey and put the mouse with between the two layers, you can see that you can create the clipping mask. And now this adjustment will only affect the texture of the pole. So reduce the saturation like so you can also try colorized and try to match the background color. So go to a blue, but only if you only de saturated It's enough. I just want to show you how I can do this with with the colorized option as well, and said the saturation like that and maybe play with the lightness, too. Make it brighter or doctor. But let's use on Lee the saturation value like so and making I d saturated too much. I had to leave some of the color there, and I think this grading overlays Teoh is too strong. So maybe I said this to let's see darkened, multiply. Try the band modes. I like color burn, so I'll leave his own color burn. And maybe you can also try bevel and emboss. But I think with the greedy in over leads enough. So you removed the bad line in Boss and you can add a second Dexter if you want to. But Leslie like that, let's try color overly. What I'll do is a sample card from the scene, except like so and maybe try the collar bland mode and reduce the capacity of it may be soft light. I just tried bland modes, but I want to have the same colorants background. So I think I lived this to collar and make it reduced capacity. Okay, now, this poll looks better, but we still need to It had a layer mask to it. The mascot bottom part. And instead of using a soft brush years, one of this dirt brushes I called him and just a mask, like so just so that I don't have that straight small selection because a smooth masking would not look nice. What I want to do is put this on the signs of bit higher, so let's make some adjustments to don't as well. I start with sign, too, but with someone, and after that we can copy all the lives on scientific. It's and it's the same technique. The first thing that I will do is the saturate image sold Gala is a few saturation adjustment. As clipping mask, I reduced the saturation to about minus 55. Now open one with textures from the stock folder and let's see stock images are used to diss texture. Open this with Photoshopped, so I all to copy it. And let's face that here, above the hue saturation. And since we only want to see that on the sign one after many years of clipping mask as well, so right quickens, let great clipping mask or used the old click shortcut. We need to blend this with that unsaturated yellow, so I have to use the well. You have to try blind modes, but let's try a multiply or color burn color burn looks nice, but the problem that we have with this is that the texture already have has some color. And I only want this lines here. I don't need the color. So what I will do is press control and you loathe hue, saturation and the saturate this completely. Try the bland molds again so you can see that multiply. Mold now looks different. I like this one, but it's too dark. So what I'll do is use the levels so press control out to open the levels for this layer, and I may be increased the highlights a bit. So So I did that. I d saturated the texture and applied the levels on this layer. These two adjustments. I can copy this to the sign to, so I selected both of them. Press and hold the bulky and click and drag down, and you can see that now I released the clipping mask. That's why you see this, But if I press the old and click, I can create the clipping mask for the bottom sign. I'll have to move it. The movie, the bed because I still want to be able to see those Those those numbers there But I have. I still have too much color there. So all the separate, all the saturate, this even more on both layers and maybe maybe I can use some levels will see that maybe at the big, more lights there, what I'll do is you can see the texture here is repeated, so I'll select the texture for the sign to and flip it horizontally just so that I have some variation. I don't want to have the same texture, both signs, and they wanna have that space there so that I can put that number. Okay, it's still visible. Something like that. Now let's add that shape there on the middle on the sign, I use, uh, custom shape tool. I have a shape that's ah, heart, but you can taken Donald a lot of shapes and put your own shape there. It's not really that important. I just wanted to add the heart here, and I happened to find this one, but it can use a full heart if you want to. Now that same this heart and just living there is not looking too nice. Have to to destroy the bit so little air mask for it get the brush tool. And again he was one of the this default brushes that photo shop comes with. So let the little mask major had the caller said the black and just zoom in as much as you can. Just paint with a tip of the brush parts of the off the edges to destroy them and maybe make use different brushes at variations. Destroyed the edges a bit Because you can see all this. This a road sign is really, really old. Really, really dirty. So heart has to be pretty much the same like so. So if you zoom to 100% against you, look better on may be a bit more here. Don't forget, this was just like the little mask first. And maybe if it here as well. Okay, so that's how how you destroyed the heart and see. Let's see the before and after. So without the layer mask and with the layer mask, it blows a lot more realistic now and then. From the numbers. Just type. Use a tax tool, make a selection like so and this type I typed one million or this type a big number there and I used, uh, you can use any fun, but use. If you use a condensed font. It's all better because you can type a bigger number. Then type. Let's make this a bit smaller. I'll have to make it fixed. Smaller as well. Don't get something like that. You can You can do the same here. Great. Earlier. Mask just destroyed parts of the text if you want. I didn't I didn't do that on the original. I should have on a done death because it's more realistic that way. Just, uh, destroyed cars. Part of the of the numbers there don't destroy too much dough, because this is one of the most interesting part of the whole off the whole artwork here. So this is the message. So say okay, so want to have the pole? Uh, you know, what I'll do is select all the wares that that make this object here and press control. G group it so too great a group. So I'll call this group. Oh, and then we are ready to to the next step, which is duplicating this and playing with the perspective 4. 4 Perspective: So now that the poll is in place, we have to do is great. A couple of duplicates and just a spread them across this across the field. Here I have this group here. What you can do is if you're 100% sure that you like how it looks, you can merge this. But what I usually do is create a duplicate of this group just in case and hide it. And that's let the group itself and press control e to merge the layers and that way have it All those layers that were inside that group are merged into one layer. And what I want to do now is create perspective grid because I want to duplicate this road sign. And I want to have perfect and perspective across across this concede these lines here. So it has to be perfect. So what I'll do is create anywhere and I'll name it greed. And I'll make this grid using the vanishing point to so go to filter vanishing point. You should have this option available in previous versions of photo shop. If you don't have that, I don't know, maybe opened the PSD file and copy that grid that I made and I'll just film into 100% maybe 200%. And I'll create the grid. Using select is still here and click ones here. If you want to move the image again present, hold a space bar and then quickly can. On top of it, I'll have to do it again. I had to start from the from the top. So how? Zoom back to 200%. Yeah, and have to start from from the top part. So click on the top, go on the bottom. And now go follow the tracks and have to make a parallel lying to the tracks on all the way to the horizon there and then click. Maybe someone here and we have to justice because you can see this Red line indicate that the perspective is not correct. So zoom in a bit and adjust this when you see all these lines, everything is is correct. But you have to make sure that the vertical lines are indeed vertical. So I had to make straight lines. And if that doesn't happen because have to move this points, uh, okay, something like that, and like that let me zoom out a bit so I can see the grid. So this is my perspective now. I can use this great Teoh duplicate this roadside before you click. Ok, select this icon here and choose render grids to photo shop. This is Ah, a technique that I use in another tutorial that I made on my website. And it's really it's really hand so quick. Okay, now And you will see that on this new leader which I called Grid. Now I have There's a great here that I made with the vanishing point. Oh, so now I can manually adjust this of side. So first, select the layer of the roadside press control control J to duplicate it and press control deep below the free transform and just scale it and follow this. Make sure justice todo to this grade. So put this one here. I'll just add two of them and just to make it smaller, maybe put this layer on top of the grid so you can see it better. But I should have done that first, so make sure the duplicated sign is on top of the great layer. Otherwise you will not see it to do well, we'll make it smaller like that, you know, Place it, uh, here. So make sure the bottom and the top touch this lines here, the top and the bottom line off the grid. That's one of the signs and duplicate again. Make it smaller and place it down and make it really, really small. It's almost not even visible, and I can deactivate this grid and see how this looks. You can see that it looks a very realistic. So that's, uh, because of that perspective group that we used. So I'll leave the greed layer here. If you want, you can. You can delete the pole, the whole group, but put it here on the bottom so that it doesn't bother me and a great player as well. I don't like to do it to delete layers, so that's the structure off. Our manipulation I would have to do now is make some shadows and and some final light effects, and we are ready to go 5. 5 Shadows: So now that you have the road signs, you can start making the shadows for them and also for the man. And if you remember, I said that I will make the shadows casting that in that direction, but they don't really that nice. So I'll do the same that I did on the original on the original image. So create anywhere under decides and make a rough selection like this and just feel it with black. Once you have that filled with black press control, people of the free transform on just rotated like so put it there on you have to place it under demand. Actually, I place it somewhere. There may be justice a bit with the warp with the work, too, Like I have to get it straight, though something like that, and changed the ambassador to, let's say, 50% and apply some letter to Sultan Shadow about four pixels, depending on this campus size that you have and maybe increased the capacity to 65. So that's one shadow there. No, there's a I didn't add the shadow. This one that doesn't look really nice, especially when you duplicate it here. You won't see a big black dog there and just tiny little shadow there. So that's why I only use the line there. I think it's not really that noticeable that we didn't do that because for this one's, I just duplicated first layer for this one's here. I'll make sure that the shadow ends here and I'll make it really reduced capacity. So that's not really visible. No, I reduced capacity of that 1 to 40% and duplicate again. Make it smaller and again make sure it is as wide as the tracks themselves. On place your shadow there and you're good to go and see how how nice they look, that group them so before and after you can see it really has to the to the mansion, into the depth of the image. Let's do the same with the man. That's great, and you were under it, and I'll name this and shadow, and this group is sign shadows for the man. A campaign to the shadows manually is not really difficult. Just to select a soft brush, using a pass iti and flow of about 15% more or less, just a zoom in as much as you can set hardness that seats about 12% and just paint some shadows on their demands. Feet, maybe increased capacity of it because it's too tee too low, just faint, some shadows under under his feet. You can hear that. I'm doing this with the mouth so you don't need a tablet for this. That's why I have to use low capacities. Can see how many passes I do going to build up the intensity of the shadow. And for open areas like this, you can increase the proper size and reduce hardness to zero paint again and notice that I'm painting the shed on the same direction as this one have to be consistent with that, the same direction. I'm finding some really soft shadows, maybe increase the brush size like so and make a single stroke. So that's the shadow under demand before and after. You can see that now looks like the man is really standing there, but I would like to to delete that, using the razor till this white area here, this white line and also this lives here. So just to just that. So that's how I made the shadows 6. 6 Final Effects: okay, we are almost done. One thing that I don't really like is the color of demands. Cote here is a bit too saturated, so we'll use a hue saturation and as a clipping mask, because I only want to affect the man and reduce the saturation to minus minus 20 or minus 30. Uh, just so that blends a bit better with background. Now as a final touch, what you can do is use the lighting effects filter. I use this a lot in my manipulations on. The first thing you need to do is make a copy of all the layers merged on a new on nuclear . The shift control old and eat. Or you can also do that. If you select the entire campus is in the Marquis, too, and go to edit, copy Merced and then create a new layer and go at it based and get the same. Get the same result. I'll delete this later on this final image because I had the lighting effects filter here on this image. Convert this into a smart object. You don't have to do that if you don't want to, but I like to do that because after applying the lighting effects filter. If I don't like how it looks, that can re add it that settings. So go to filter Brender lighting effects and wait for the filter load. Now in CS six, this filter is eyes. New conceits is not new, but it's different than in previous versions of photo shop. On previous words, you had only a small window, but the settings are the same, so basically you're just antacid E. On. Make that the light a bit bigger so and you can see that Photoshopped, 60 also have the presentation of the focus or hot spot in full shop. CS five and previous was called Focus Think just play with this settings. The goal here, really is to add more light here and vignette in effect on this part here on the bottom. So have this part of your darker and more light as we go into the distance and maybe increase the gloss increased the gloss of bits. Maybe also exposure here on increased the intensity of the light, but not too much. I'll decrease the exposure. You can see I'm burning highlights here, which is not good, said the ambient zero to default. That's why it was to write on, maybe not, created a bit of intensity. It was just a matter off trying death standings. I want to live this on metallic. That gives me more, more contrast. Computers working really slow, said this eight and make the lights a bit bigger. I'll place the light here, and I tried to squeeze it a bit. Let's leave it there. Actually increase the hot spot to make it a focus. Leave the metallic 100% as have the intensity. Teoh 16. Once you're happy with your settings, just tried to get a bit of darkness here and more like they're so click OK to apply the filter, and now you can see a before and after and see this stock part here, and more brightness on the middle just actually made the whole image a bit darker because I used to little intensity increased intensity rather too 18 and click OK. That's why it was a smart object so that I could open that filter again so again, before and after I'll restaurants later. So right click and she was restaurants. Layer. I do this because my computer is running is a bit slow and on 1/2 that restaurants. So one final touch is to have been more light there because as you move into the distance, there's, ah more fog. Or I don't know that how to explain that, in fact, but it's usually brighter than what you see close to you. So pretty new layer and this fog. I'll get the brush tool and just to sample on one of the great colors from here. And I'll set the blend mode of this layer to screen and just paint some light. They're like, so so before and after it makes it look a bit more mysterious. Maybe another final touch. Use a hue saturation to the century. It whole scene even more, and then you can use levels. Teoh increase the contrast on just increased emit tons of it not too much, and the shadows And I think I d saturated image too much. So bring back some of the color for the final effect on the original image I used the plug in, so I'll delete the layers and the hue saturation, but with this to you can get the same result. Not quite the same but a similar result. But I use the plug in secret in your stamp pressing shift, old control and E. And I used the plugging that's called past detail. It's a really good plug in that really makes a sort of HDR effects you can make with it and can use a a free trial version. I don't know. I think it costs $50 or something like that we can use. You can use it for 15 days or something like that. And I used the pre sent interior strong detail and, of course, reduced some of the detail with this fly there so you can increase the detail. Amount basically gives you sort of HDR effect. You can use the built in HDR effect and in photo shop. If you have four shops. Yes, for and then I just reduced the saturation a bit and let's go OK, so you can see the effect that I get. So it's quite different from this to this. Let's try that HDR that comes with four shops off with a new stamp. I'll go to image adjustments hdr toning. I didn't I never used this so that the first time I do is has to flatten the image, but well, that's what it is. So let's use local adaptation. Maybe. Let's try some of the process that we have here. See? See what it does. Oh, yeah, monochromatic artistic can you can see that there. Let's try. You do seem to amount of detail. You need to bring back some of those highlights there. Saturation and vibrance to zero lived the saturation of the original image. And maybe now play with the shadows and highlights. It's and control the radius. Now I can reduce the vibrant bitch. And also to contrast, I think it's too strong need to reduce the amount of detail I needed to mount 30. Also play with the strength on the most important sliders here. Highlight and shadow. So we need to add more highlights there, Right? Well, something like that. But I can see that you lost all the later. So you have to do is I'm separately. If you want to get if you want to make sure you present the other later. So this was the this was before. And this is the actors. You can do that on the separate document because that way. You don't keep the original layers. Okay, so that's the end of this tutorial. I hope you learn something new I made. I went as slow as I could. If you have any questions, you can sit on the dollar fire. We will find link to the article on my website so you can post your comments and feedback. This is Andre from PSD box. Thank you for watching and see you next time.