Photoshop Composite Mastery | Tom Kai | Skillshare

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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

10 Lessons (1h 48m)
    • 1. Introduction

    • 2. Finding Images & Brushes

    • 3. File Setup

    • 4. Compositing your Image

    • 5. Color Matching

    • 6. Shadows & Highlights

    • 7. Special Effects

    • 8. Color Grading

    • 9. Saving your Image

    • 10. Conclusion

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About This Class


Learn everything you need to master creating composites in photoshop! I will walk you through the process from beginning to the end and give you some useful tips and tricks that I wish I knew when I first started. At the end of this course, you will have created your own composite and have the skills and know-how to create many more!

I am Tom Kai, A professional photographer and graphic designer with an incredible passion for creating. I've been working in the creative field for the past 10 years and in that time I've learned a lot of useful information that I want to share with YOU! I am excited to help you Learn Photoshop Composite Mastery and to get you started with creating stunning composites in photoshop. I also want to give you all the skills you need to create any kind of composite that you can think of! If you want to see more of my work, I encourage you to check out my website HERE or feel free to follow me over on instagram @therealtomkai or you can just click HERE

This class is designed for those who want to master the skill of photoshop compositing. It's in depth enough for those familiar with photoshop, but also beginner friendly and I walk through my whole process, I am sure you will be able to follow along. I will be walking you through some shortcuts and tricks that I've learned over the years that have helped improve my workflow and that have helped me create pieces that caught the eyes of some very cool clients! Whether you want to make composites for yourself or for other clients, this class will be useful to all of you! And don't worry, I will provide you with all needed material for this project, such as the images, brushes, and textures. 

This course is made using the creative cloud version of photoshop, specifically Adobe Photoshop CC 2020 is what I use in this course, however the principles and skills taught in this course can and will apply to other versions as well. You can also download a free trial of Adobe Photoshop CC from

In this course you will learn:

  • How to use the photoshop interface and tools
  • Where to find free and paid images and brushes
  • How to edit in a non-destructive way
  • How to setup your file properly
  • Fast and effective ways to composite multiple images into one
  • Easy ways to color match many images to all look the same
  • How to dynamically light a composite
  • How to do final color grading on a project to create a cohesive image
  • Proper way to save your final image for both digital and print purposes

Meet Your Teacher

Teacher Profile Image

Tom Kai

Photographer and Graphic Designer


Hello there! My name is Tom and I have been in the creative field for the past 10 years! Over that time I have come to be very well versed in the whole adobe suite but especially photoshop and lightroom! 

I work mainly as a graphic designer and photographer but I also spend a lot of time helping clients and companies revamp their branding, create stunning advertisement material and provide them with a fresh set of creative eyes to solve their creative problems. 

Here on skillshare I will be teaching you what I wish I was taught a decade ago when starting out, from the basics of tools and their hidden features, to the more complex aspects of various content creation both for yourself and for potential clients. 

I encourage you to take a look at my soci... See full profile

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1. Introduction: Hello, everyone, and welcome to Photoshopped Composite Mastery. My name is Tom Cayenne. I've been a graphic designer and photographer for the past 10 years. I specialize in creating out of this world composite work for clients and companies alike. You may have even seen some of my work any few ad campaigns. You'll see some examples of my work going across the screen now. But if you want to see more, please check out my website at www dot the real tom kind dot com or look me up on instagram at the real Tom Chi. I'll have links to both of those in the descriptions off this course. So what doesn't mean to master Photoshopped Compositing Mastery means you're able to take many images as necessary and combine them all into one cohesive image matching all colors, tones, shadows, highlights most, making sure all masking, blending and edges do not distract Photoshopped. Composite mastery allows you the opportunity to create out of this world creations for both yourself and four major brands. Many of the ad campaigns and marketing that you see companies use employ the use of Photoshopped compositing and having the mastery over the skill will allow you to land clients. He never thought you could. In a few of my previous courses, I went over some of the basics off compositing, where I used 3 to 5 images. However, today I'm going to teach you Photoshopped composite mastery and together we'll be compositing 13 images into one, and we will be creating this together from beginning to end. I've broken down each step of the process into separate segments, and I'm excited to teach you the master level techniques that I personally used to create my own composites. So let's get started. 2. Finding Images & Brushes: all right. We're at the very beginning of our course to create a stunning Photoshopped. Impossible. What do we need before we even start creating our composite? We need some photos. So I'm gonna go over some paid and free websites where you can get stunning stock photos. So let's hop into my Web browser and let's go over those. So the first website I'm going to show you is deposit photos dot com. This is a great website. As you see, they have 100 72 million files. They have a crazy amount of content here. They have photos, vector images and video. So even if you have a video project or you need to include some other vector images, you can have that from this website. I will let you browse these websites yourself and to see all the plans on pricing because some of these have varying prices. Some have a monthly subscription plant, and some have a paper image that you use. So let's go into our next website here. Another one that's very popular and that I've used before is Getty Images. This is a very high quality website. You can get some really starting artistic quality photos here, and this is one that I used fairly often for the more luxury, higher class clients. They tend to want images from here. Specifically, I've had clients request that I use images from Getty images, So feel free to browse this by yourself and look at the prices per image. The next paid website is simply istock photo dot com. This is by Getty images, so you're gonna have a lot of the same images as before. But here you have some photos, you have illustrations, you have videos as well, and they have curated sets as well as different categories. So whatever you want to look for, you can search it or look like one of the pre designated categories. It's really helpful, and they also have some very high quality great stock photos next, one that everyone knows that'll be stock. This is Adul B's own stock image website. When you sign up, you get 10 free at will be stock images, so that's very good. If you're just starting out and you have never used a paid site before, you can get 10 free images here to see if even like it But personally, I can tell you from experience that'll be stock is from fantastic quality images that I have used in a lot of my composites. The last page stock image website that I use is shutter stock dot com. This is probably the most popular out of all of these that I've showed you when it comes to the paid websites, and that's for good reason. They have so much content, and they're used by many big companies. You couldn't find images to suit whatever you need. They even have videos up to four K, which I've used in a few of my recent projects and even have music, which is what sets shutter stock dot com. Apart from many of those is because if you need any music for your projects for your video projects or personal projects that you may have, you can get music here and it's a fantastic quality. Now I'm gonna go over to a few of the free Web sites that I use very often for my images. So the 1st 1 that I use is pecs als dot com. This is a great, great website. They have a lot of great free stock photos as well as videos. So again, you can have a lot of flexibility using content from here. And it is all free. Most of these places, you're gonna have to sign up for an account, but that is also free. Just putting your email making account, and then you can download as many images as you want. Another website I use a lot is picks obey, and the benefit of picks obey is that they have some really cool illustrations and images you may not find on other stock image websites, for example, on somewhat likely could not really search for robot or an alien and get a robot or aliens . Meanwhile, here, if I just type in alien, as you see, we get certain UFO images, alien images. Some of these may be better than others. I'll give you that, but you can find some really interesting stock images here that you may not find elsewhere . So I think that is one aspect of picks obey that really sets it apart, because I go over to my last free website on that when you're not able to get these kinds of images, so let's hop over to the last Web site that I use and probably my favorite on splash dot com. I use this site for about 90% of all the composites that I create, whether it's just one image, all the images that I use. This is probably one of my favorite websites to get stock images, and they're really high quality. And this such a huge variety, their categories are fantastic. You can view all the categories you can just scroll down. Look at all the different topics. They seriously have a lot, and it is fantastic. And also with on splash, you have to join. You have to create an account, but it's free. And once you do, you just download images to your heart's content. You find one that you like and benefit of this is that you can download the original size or a large medium small whatever file size you need to work with. You can download the image at that size. Most of the time. I Donald original file size for the images that I've provided for this course. They are all original file size of the biggest foul size I could download and feel free to download them there in the course files for you. So download all of those as well, some brushes, and I'm going to quickly show you where you can get some really cool brushes for free. There is only one place where I get all the brushes that I use in photo shop, and that is brush easy dot com. There's all free Photoshopped brushes that you can get, and they have some really, really cool ones. I can take your composites to the next level, and I'm gonna include all the ones that I used with the course file, so make sure you download those and install them. But I'm gonna quickly show you right here. You can look at their top brushes and they have some really corns, bird brushes, fire brushes, different water textures. It is a really great resource to get Russia's that you didn't even think that you need. You can get smoked brushes, grungy brushes. I use these in every single one of my composites. So now that we've covered where to get all your images both paid and free as well as brushes for free, let's hoping to photo shop and let's get started with creating our composite 3. File Setup: All right, so we're quickly going to set up the follow that we're going to be working with. So if you're following along, just open up photo shop and you should come to this home screen here, So we're just gonna click creating you, and I'm gonna be working with an image that is eight inches wide, 10 inches high. This is because I post most of my content onto instagram and the ratio there that is the best 45 ratio, because that's going to give you the most screen real estate. So for this particular composite, I'm gonna be creating at eight inches wide and 10 inches high resolution, we're going to keep that a 300 pixels per inch. We're going to keep a RGB eight fit, and that is all we're going to do here. So let's click create. It's going to take a second and there we have our project file. Now your screen may look a little bit different than mine. So let me just quickly change this for you. So let's do reset essentials. So fear opening up for the trump for the first time. This is probably what you're going to see now, I personally I get rid of this learning tab because I don't need that. I don't need the library's tab. So you just click on these three dots here and click close, so it's already starting to look similar to what we had before. Now, over here, I always make sure instead of properties, I have my adjustments. Then I drag this handle up so I can see more of my layers. This is where all your layers were going to come, and it's going to be very important to manage your layers very well. And we're going to be going over that as I composite image up here. When it comes to the colors, I tend to stick to this color wheel because you can adjust everything really easily. You have your hue slider over here, you have your saturation slider, and you also have your black level. This is how much black is added to the image, as you see over here in this triangle. As I pull the slider to the left, it pulls your color closer to black a 0%. It's absolute black, so you can really get a very unique and specific color just by playing around with those sliders. Now, I also tend to drag this handle to the right side of more space here. And as you may have noticed before, I had something open over here on the left. So let's let's get that done as well. So I'm gonna hit window and I'm gonna hit brushes. That's gonna bring up my brushes over here on the right, but I don't want it to be on the right. You just click and drag it off and you clip it to the left. When you see this blue line show up on the left, you let go. And there you there you have it. Now I personally dragged us in a little bit so that my brushes are in columns of two. Because you run your in, your project fell. It is very easy to just paint with one brush. Select another, and your workflow is going to be a lot easier. And again I will be, including all the brushes that I use in the course material that's been provided. So make sure you download those install those to install brushes. You simply click this to drop it down here and you click import brushes and then you find the brush file that I've included and is gonna install it automatically. Very easy, very quick, and we can get started. So next video, we're going to get started with compositing our image. We're going to get all 13 of our images into this one file, and we're gonna start arranging it, masking everything out and putting them into the places that we want. So let's keep going with the course. 4. Compositing your Image: we're finally ready to start placing our images into this file and compositing our image. So first things first that you want to do is get on images in here. Now, the way I personally do it is I click file place embedded and then I find my image. We're also going to have to supporter of source images. So make sure you download this file, you're gonna have all the images that I'm gonna be using. And then let's start with just the very 1st 1 up here. Let's start with this concrete texture and hit place. Might take a second photo shopped to do its thing, but they use hit, enter and its place Now the reason we do place that's embedded is because it adds the image as a smart object. Having our image is a smart object will allow us to resize it as much as we want without having it loose quality, and also we're going to be able to apply smart filters to it. This is crucial for Photoshopped composite mastery. You want to make sure that you always, always, always do your composites non destructively. You don't want to ever destroy any detail or any information from your original image. That's why smart filters allow us to adjust and manipulate the image that we're working on without actually affecting the source image. So I'm gonna go ahead and place the other 12 images and I'll be right back and their regard placing the other 12 images. So now we have 13 images in our file here, and I'm gonna go through each layer and just to show you guys and so that we're all on the same page, have this layer with this woman in the forest. I'm gonna be cutting out the women here for my composite here when I have a really cool sunset image that I really love the colors up. And I want to incorporate that into this composite. Then I have a few images of rocks. I have this one, this one and this one and I have an image of I call it a planet, but it looks like it is paint, but I'm gonna use it as a plan and you'll see how cool it's gonna look when I have a picture of the moon and have a picture of a man standing. And I have a picture of some higher graphics here. I have a dog sitting on a road gonna have my desert here with a lone tree, but we're gonna get rid of that tree and then I have to concrete textures. I have this one and this is the first image that he saw me place. So let's rearrange these layers so that we have something to work with. The first thing I'm going to really composite is going to be the background. So that's gonna include desert the moon, the planets in the sky and we're gonna have I believe, just these four for the background. So first of all, let's bring all these layers down because everything else was gonna be on top off this. So you will see some shortcuts on the screen as I do all of this. So feel free to take your time. You can stroll down the video or posit as much as you need, and full of the shortcuts that I have to see everything that I'm doing. Look at our sunset down here and first things first. I'm gonna hide these two Lakers. So now we just have our sunset here and we have our desert. I want this guy to be for this image. Now I'm gonna resize our desert image ever so slightly, not too much. And I'm gonna move the sunset layer below that. Now what we want to do of our desert Let Z for zoom tool. Let's zoom in ever so slightly. Now, this image is gonna be very, very easy to mask out because it looks like this a very clear edge here that makes our lives a very easy for this beginning here, you can hit W for your quick selection tool, or you can find it up here and we're gonna try in Moscow, just the sky here and that is a fairly decent selection. So then you want to hit control or command shift I to invert that selection and we're going to hit the mask tool. So now we no longer have a sky there, which is exactly what we want. So now we're gonna go down towards sunset layer and hit control or command t so we get into transform and we're going to stretch this to the point where it fills up the whole sky. And I do want some of this this yellow golden sunshine here peeping through. So let's just keep re sizing this and moving it around until we have it at a position that we're happy with. And you can use the arrow keys on your keyboard to move it around even less So I'm gonna do that until I don't see any of the ocean coming in this corner here because I don't want that. So let's do something like this. I'm happy with that. That is about what I want for the background. From now. Let's go ahead and get rid of Are the tree here because we do not want a tree in our image ? Not in this one, at least so we can do this is very, very easily. You're gonna want to create a layer above the desert layer and then hit J on your keyboard to get into a spot healing birth tool. You're gonna want to make sure that you have sample all layers checked because gonna sample all the layers that we have. So all you want to do is simply paint over the tree. Nothing more, nothing less, and it's already gone. That's how simple it is. A ZC. There is a line going across here, and that is actually from the mass that we created for the desert just before. So in order to get rid of that is very simple. You just hit be on your keyboard, and you're gonna want to make sure that you're on the mask layer, not that desert layer. You want to be on the mosque layer and most painting in black. You can paint away that line so you can hold down shift and you can get a freight line going across. And we just want to fix that. We don't want any kind of extra lines going through our image, and there we go. So now what we can do is add in our planet's. So let's go and do that. So first we have our moon, and it is very simple to mask out the moon. In this particular situation, I want to make sure that you're on your moon layer, and then there's a drop down of blending mold where you see normal, you're gonna want to click that and go all the way down screen. This is the one that I use most of the time for planets and again hit control or committee on. Let's resize that ever so slightly we're gonna have that live somewhere up here. It may move around and probably will, but for now, let's just have it up there next. We're going to use this other planet, and we're essentially going to do the same thing. Make sure in the final layer and in this drop down, let's go down to screen and hit control or command T and let's resize that as well. We're gonna have just two little planets up here and we're gonna mascot out. Make sure it looks good in another part. So we have all of these done here. Let's hold down, shift and select all the layers that we just made and hit control or command G to group, not altogether. Now, let's double click on this on the three. Name it to background. Wait, don't. Next thing that I want to do is I want to create a sort of monolith right here in the middle that our subjects are going to be looking up at. So let's get started with that, and I'm gonna be creating this in a very unique way actually. So let's create a new layer and then let's hit em for marquee is gonna give you the selection. It may be on the elliptical marquee tool or one of these other ones. Make sure that you're in a rectangular marquee tool and we're going to start to create some shapes here. Now, you can have as much freedom of this as you want, but I'm going to have one in one rectangle here, and I'm gonna do this 1/2 of the time. I'm gonna make 1/2 of this and then mirror it over to the other half so that both sides are exactly the same. So I have this rectangle here, But now I want to go into the elliptical marquee tool. So you just hold down on this on the marquee tool up here and go down to the elliptical. And now, if you hold down older option, you're going to see the symbol with a minus. That means it's going to take away from this selection, you see. Now we want to be very controlled with how we do it. What I want to do is play around with this until I find a shape that I'm really happy with . I wanted to be very simple, so I think this shape actually is really, really good. I like having a little bit of a circular shaped cut out from this rectangle. So what we're gonna do is hit G four paint bucket tools, and we could really select any color that we want. For the purposes of this, I'm just gonna color this color that is very noticeable against all of this. Something's gonna paint this green. It really doesn't matter what color you have this. So now what we're gonna want to do is hit control or command J. And we've made an exact copy of this, but you can't see it yet. So on this copy later that we made Let's go to edit, transform, flip horizontal. And did you see It's done something. It's flipped it horizontally. So now just hold down shift. And if you click and drag, it's gonna drag it in a straight line. I can't move it up or down. As you see. Let's move this until it's in a somewhat equal, distant spot and there we have it. But that still doesn't look that we want this to be a three dimensional object, so that's gonna comment very easily. So next thing that we want to do is essentially hold down shift group these two layers together, let's hit control or command E. This is now one layer, which is what we want to know. If you control or command clicking, you layer is gonna put a new layer beneath this one. And now we want to add a little bit of depth to these shapes here that's gonna be fairly simple. So on the layer that we have below the one that we just created hit PIF your pen tool and let's zoom in here. Wanna click this bottom corner here and bring that up ever so slightly gives us a little bit of death. We're going to bring that all the way up here about this point. If you hold on control, you can adjust these nodes separately. So gonna bring this to about here and then connect it up to that point. Now you want to make sure that you're keeping perspective in mind when you're doing this. So, for example, if we're at this perspective, you're not going to see the tough off these monoliths here. At this perspective, you're going to see the underside of this part, and we're gonna be making sure that we have that. So let's click here, and we're gonna want to bring that back ever so slightly to there. And then if you click and drag, then you get a very nice curve for your image. Here and again, this curve disappears because you don't see the top half of this due to perspective. I'm going to do the first half here with you if you hold on control or command and click thumbnail. But now all you do is hit, control or command enter and it turns out that path into a selection. And for now, it doesn't matter what color we choose. It's gonna choose a dark green. Let's hit G paint bucket tool and we painted it in. Now let's control our community to de select that and they go. You already see, there's a little bit more depth to this shape, so we're going to go ahead and do the same thing on this other side again. We're going to use our pen tool. Bring that back up to about this point and then just click and drag. Get a nice curve in here. Don't be afraid to hit control or command Z to undo what you're doing because there is a lot of trial and error when it comes to this kind of stuff. So you want to be very careful here. You want to match it up to the other side as much as possible and this time also gonna have depth on this side. So we want to make sure we have that included. So again, we're gonna follow this down here, and then we're going to bring that about at this point next there. So this puff of the shape is a little bit more complicated, but you just have to take your time. Be smart and think about all the shapes and angles that you would need tohave. So let's go connect that up and zoom out and let's hit controller comment. Enter, get our selection. Let's hit G four paint buckets and that's paint in the same color that we just had. It's a controller command D, and there we go. It's not perfect by any stretch of the imagination, but it is good enough for us to get started with with our monolith here. So let's go ahead, group these layers together, select them, and then hit control or command G. And we're going to call this monolith base. And right now it doesn't look like anything special, But this is where our concrete textures are going to come in. So let's use our first texture here. Two huge texture. So Walton or a concrete layer lets it control or command T. Let's resize that Let's make that match the size of our monoliths. Here, there we go. And if you hit old or option and clip it down below, it has now put that texture over our monoliths, which is exactly what we want. So that is fantastic what I'm actually going to do looking at this now, I'm gonna take this down into our monolith base layer and clip it down just to the front part because what I'm gonna do is I'm gonna hit control of fun. J duplicate that. Drag that down to the shadow layer, clip it to the shadow layer and now, when it comes to changing the color of it later on, we can adjust the shadow part separately, which is very nice. But for now, we're going to keep this the way that it is. And on the overall layer up top, we're gonna add this concrete layer so lets us hear old option and clip it down. Let's hit control or command t for transform. And then let's resize us ever so slightly I'm actually gonna rotate it. And for me personally, the more texture that I am able to add, the better. Now this has some shadows coming in on the left and I want that on the right. So let's do edit, transform, flip horizontal. So now we're gonna have that on the right side. Let's hit, enter and we're going to deal with this later on. So for now we have a monolith base ready to go. Now let's get working on our subjects here for our image. We still have a dog, a man and a woman. So these are the next delays we want to work with. So let's get all of them into one place. There we go. We have our men, we have our woman. We have our dog. So let's start with our dog layer. Okay, let's zoom in here and then let's see how good of a job are. Quick selection Tool is gonna dio lets it w Let's make our brush smaller and let's start painting over our dog. It does a fairly decent job on the first pass, but I see it's picking up some of the gravel here, which we don't want. So if you hold on older option is gonna de select what you don't want, and I want some of the for back in here. Let's zoom in and again with W Cook selection selected. You want to do, select and mask, and this is going to bring up this dialog box. It looks a little complicated, but this hopes you get really refined edges. So what you want to do is click of this button here. This is your refine edge brush tool. Let's just click that and you're going to see if you paint. It helps with massing out the hairs off your image, so this is a little bit time consuming. But when it comes to master level compositing, this is a kind of detail that you really need to have. You want to have all the hair strands mask out properly of your image so that it looks as good as it possibly can. Let's continue with the for of this dog here. Luckily, it's not too difficult. Let's just keep painting over this and Photoshopped AI is smart enough to know where the hair is, so you just do the best job that you can painting it in, and Photoshopped generally takes care of the rest. Takes us down here, got some of the hair around. It's tail very nice. And there we go. I'm happy with that. So let's hit, okay? And you see it's going to bring you back the trailing ants here. Let's Z two's amount and let's hit our mask tool and we have a dog, Moscow. And as you see all the hair, all the for it is almost out. So now on the dog layer that's had control or commodity, and we're gonna want to resize that you want our dog to be very small, maybe even smaller than that we're gonna go with that size for now, but we can always resize that it's a smart object, so it's not going to lose any of its detail. Next, let's get our woman here. So again, let's use w get her quick selection to let's make a brush a little smaller and let's try and paint her out of this. Don't make sure you have all the details. Was always the other leg here and we're going to fix this. You see how this leaf is covering her leg? We're gonna mask that out. We're gonna paint it out, actually, and make it look a lot better. Let's get the rest of her hair here very nice. And then let's hit all our option to de select this part between her legs. Here, here we go. There we go. That is about right. So again, that's going to select. And that's going to refine this mosque in here. Soviet Z you consume in. Let's go to our refined edge of brush here. So again we want to paint a little bit over the hair. But what I'm concerned more about is the shirt. Here. You see those some texture in it. We want to make sure that we're masking to the best that we can as well as down here by the legs. There is a lot of messiness that comes of the leaves around her. There we go. And it really pays off to take your time and to do this because the end result is gonna look a lot better. There we go. Alleged amount for now. I mean, I will fix the leg here. Let's hit. Okay, And again, let's hit our mask tool. Not the best selection, but we're gonna fix a lot of this toe. Let's zoom out and let's have control or command tea and let the resize her ever so slightly that she's in a realistic size compared to the dog, something like that. And then let's go in here. Let's fix some of these edges. So if we go into the mask layer and hit be for brush, let's get let's use a soft brush. But let's change the softness of that. I wanted to be around 80% and then let's make the brush even smaller. And with Black selected, we're gonna paint away these extra little selections that ended up making its way to remain selection, cause we don't want that. We don't want this messiness here. We want to have his clean lines as possible, and I do notice now that this bill is leaning a little bit, so we're gonna fix that as well. In a second. Here we go. Let's take control work, Monte. Let's rotate her ever so slightly. And then let's go to the layer above and we're gonna paint out This area here looks like the color off her hands here or leggings. And we're gonna essentially just paint away where we would imagine her like to be if there were no leaves in front of it and try and match it up to the other side as best as possible . I will add a little bit back to this side because I ended up erasing some of it, and if we zoom out, that is a fairly decent jump. So we have our women muscle. Now let's go to the men who was standing here on the man later. Let's in W for quick selection tool and let's see how good of a job this one could do already. Not too bad. Let's zoom in a little bit again. Let's hit W. It looks like they'll be a little problem area around his head, but that is totally fine. That is definitely something we can take care of. So let's all options to get rid of flexion that we don't want. Let's keep painting in taking our time to get the best possible selection. And again we can go back on tour muscular and paint in the cleaner edges. I want to make sure we have his camera here. Actually, I'm not gonna include this camera for this one from his hand by his side. So he's like this part between his legs. I want to make sure we have the shoes as well without the rocks of possible. There we go. Let's get this shoes well left. It's human to make sure we have all of it. Not too bad we're going to refine the selection for this one as well. Okay, not too bad lets you select. Unmask, lead Zuman. Let's make sure we have our refined edge brush here, and let's start painting where we want to refine our edge here. Definitely around his shirt and his arm. I want to make sure that's nice, my end up having to come back here to paint that away. In this case, it looks like the in this case it looks like the refined edge tool isn't isn't doing too good job around the hand area. But that's totally fine. That is something we can expire ourselves. Let's go around, fix the edges by legs. We don't want any white edges. Glowing edges around are around our subject. So that's why we go and do this. It's mask this part out. This part of the share is well, all right, Let's see how good of a job this has done. Okay, and then let's hit our mass button here. Let's zoom in here. It's done an OK job, but we're definitely gonna have some stuff to fix My first. Let's resize him as well. That's it. Controller Command T Let's bring him in tow. Tow where we would potentially want him and again match the size. Something like that. Now let's zoom in on. We're going to do a similar thing we did on the girls layer. Let's go to the masks of this. This man here and with our brush. Same setting this before we're going to paint with the black and we're gonna paint away these who's weird? Edges. I ended up coming through. We're also gonna want to paint out this area between his arm. So again, take your time, paint that out. And like I said, I did not want him holding the camera. So we're just gonna simply erase it. We just have his hand by his side, simple as that. And when you zoomed out, you're not going to notice a lot of that little detail. But it is super important to make sure they pay attention to that. So now let's fix some of the edges here by his pants and shoes. Very cool, because you want this to be as clean as possible. All right, I'm happy with that placement. I might move them around a little bit, see with the man. I might even go and make them a little bit smaller. That's that. Control or command T. Let's make him a little bit smaller and rotate him. It looks like he was at an angle is Well, so just about a degree. Now let's go to our woman layer. Make sure we have the layer selected where we drew in her legs. Well, that's it. Controller community, and we're gonna resize her as well make her a little bit smaller while still maintaining a realistic proportion this possible. Now let's go to the dog layer again. Controller Command T. Make our dog a little bit smaller. Let's make sure he's standing by by these other people. And again, let's make sure when we move the woman want to make sure we have the other layers selected as well. We painted her legs controller from Auntie, and you can use your arrows to move them around a little bit more, my neutrally. Let's go to amend manlier. Let's move him a little bit closer to the center as well. I really wanna have the center be the focus of this image, so it Z let's zoom out. I'm pretty happy with that. So what other layers do we still have? We have this higher graphics layer that we're going to use for our monoliths. So for now let's move that down toward the concrete layer is and let's just hide that we'll be using that later on. And now what we're left with are these three rock images on we're going to do of these. Let's go to our first rock image and zoom in on we're going to do is with our quick selection tool, we're gonna roughly select each Iraq. This is one of the best selections that you have to do because it does not have to be perfect. So you see, here I missed that part. That's totally fine. We're gonna mask that out way, have our rock here, gonna hit control or command T, and we're going to resize that and we're gonna have little floating rocks around this one. Let's place not one there. Let's go to our next rock image and we're going to do the same process quick selection to we're going to get as much of the rockets we can and you can have a very rough selection. As you see, this is a fairly rough selections. Let's just mass that out. Zoom out was easy and again, control or command t. And we're going to resize this again. I'm keeping in mind where the shadows are, so the shadow has to be on the on the right side of her image. So I'm gonna make my life easier by having this original one be on the right side. I don't have this one floats slightly in front of our monolith, but just to give a sense of depth and scale. And lastly, we have one more rock here again. Was it? W gonna select the main rock here. That's mask it out and control Orca Monte. Let's find a good spot for this one. I'm thinking maybe something like down here that doesn't look too bad that z to zoom in. And if you have, you just get the general move tool so it can move things around. And you're gonna want to play around with this until you find a layout that you like yourself. So I'm gonna go with something like this. Groups of threes tend to work very well with images, so you want to keep that in mind as well. So let's group these rocks together, hold, shift and select all your layers and control or command G. And let's rename that to floating rocks as we move ahead with the other videos is gonna be super important that you label and group all your layers together. So you know where you're working and if you need to go back anywhere you know exactly where to go, let's group are subject together. The man, woman and dog. Let's hold down shift control or command G, and let's rename this layer to subject, and we're going to keep the higher glitz layer just out here for now. But as you see, this is the general layout that we're going to go with. We might still move it around a little bit as we go ahead, but next we're going to do some color matching so that all of this starts looking like it's one image. As you see right now, this looks very Photoshopped. It looks very fake. It looks all placed in and cut out. Next video, we're gonna color much everything so that all the tones are the same. Everything is either going to be warm or cool. Everything will have a blue tinge to it, so that is a crucial step that you want to do before you do any shading, any lighting, any other detail work. You want to make sure everything is in the same darkness level state brightness, contrast level and same color family. So let's keep going and let's move on to some color matching 5. Color Matching: All right, we're ready to get into some color matching. But if you haven't already want to make sure that you're saving your file every chance you possibly get going to make sure saving the Photoshopped file, not just a J peg, nothing else. So you want to make sure do file save as and that you're saving it as a photoshopped file? I'm saving. Mine is a work file as generally. What? I save all my files as well. So I'm working, and I keep that in the proper folder. So you wanna make sure you save it as a Photoshopped file on the hit? Yes, to replace it because I already have it. We're just gonna hit OK on this public, and you wanna make sure you do that. And if you do that once every time you hit control or command s, it's going to save a new copy over that file of a PSD, so make sure you keep doing that as often as you possibly can. But with that said, let's get interesting color correcting. Want to make sure all of this is matching. So for now, let's turn off the floating rocks. Let's turn off our subject as well as our monolith here. We want to just focus on the background for now. So let's open up our background folder here and let's start working with these files. So first I really liked the sunset that we have going here. I don't really want to change the colors off that. So I'm gonna keep that as it is. What I might do is Addie Brightness. Contrast layer to that, and generally what I tend to do is I bring this Properties tab over to the side here, so I still have access to all of this. But next time that we do that, let's get rid of that. So now if we hit brightness and contrast, we have this window to the side here. So let's click that down to the sunset layer. Let's just put the contrast contrast down a little bit. Let's soften that for the brightness. We couldn't bring that up ever so slightly, and we can close that to the side. Very nice. Now this is night time, so we're gonna really want to make sure this desert is dark or at least darker than it is now. So first of all, we want to group these two layers together because if you remember, this is the layer where we must out our tree there, let it control or command G on that. And then let's hit control or command E to turn that into one layer. Now, next, you're gonna want to right click and convert to smart object. So we're back to having this be a smart object. But now we don't have a tree anywhere. So let's go ahead and rename that back to desert. And now that's Addy Brightness Contrast layer to that, going to make sure it's click down below From the brightness way down, something like this would work. You don't go to dark. I don't have a little bit of color in there. So I'm gonna go around 120 Mark and again, the contrast. I'm gonna turn that down. I personally my personal style I like to have my image is a little bit less contrast and also a little bit de saturated, but you can feel free to use whatever style you like. If you like. Yours have a little more punch than by all means. Go for it next left the hue saturation layer on that again. Let's clip that down, and we're gonna turn the saturation off that down ever so slightly. And we can also, much with lightness here that down a little bit for now. But that's all that I'm going to do. And now a little trick that I use for pretty much all of my composites to make all the layers kind of blend together is I use one singular color from the sky or from the background in everything, and it really ties it together and let me show you. So is create a new layer above Ah, hue, saturation and let's clip it down. Just have to hold Ault or option and click right there, and it's gonna clip it down below. So now let's hit G for a paint bucket tool, and let's sample one of the colors from back here. If you hold on altar option, you're gonna get the eyedropper tool. So using your eye dropper to you're gonna want to sample a color in your sky. Now I'm gonna go with probably one of these purple colors because it's a nice match in between the blue off this side here is always a red orange off this side. So let me try and find a decent purple color. I like this one. Let's fill in this layer now. That doesn't look good, does it? So let's go to our blending modes. Let's take that down. I shouldn't be used overly or soft light. For now. Let's use soft light and let's see how that's gonna look now usually end up putting the capacity down to a very low amount, usually between 10 to 20% depending on the image. But, as you see the adds, just a slight amount of purple to it, and that starts to color match the two together. Perfect. So when it comes to the moon and the planet here, we don't really have to do too much color correction on the moon that's already be saturated. But I will do a little bit onto the planet here, so let's do a hue saturation on that. Clip it down and I'm gonna de saturate that ever so slightly, and you can play around with the hue here. If you want to have something, be a different color. I like the color that it's at, but I want to bring ever so slightly to the right. So let's go. Maybe plus five on the huge and I'm happy with that. So you see the before and after it just mellows it out a little bit. And we're going to do with the shadows and highlighted side of these planets and the moon in the next part. But for now, we're pretty much done with the background. The next let's go to our monolith. Let's turn on the monolith layer and the way we're gonna actually color match of this one in particular is it's gonna be on top of everything. So if you hold down shift, let's like, thes and then hit control or command G and we're gonna rename this mano perfect. And we're gonna add our adjustment layers to this. So first, let's do a brightness contrast. Bring the brightness way down on our monoliths Want us to be as dark as possible and the contrast again it will be lower and want to do a hue saturation layer. Make sure we have no or less saturation in fact, and again, we want to do a color layer on this. So if you hit G, you should still have the same purple from before. And let's use that. If you want to make sure that you don't lose the color that you're using for this, I recommend you making you layer somewhere, get a nice break brush and paint that color in. You can rename that as the sample color and let's say, for example, I'm using the paint bucket tool and I've picked another color. But I want this specific color back. All I do is I turn on a sample color layer and I have the same color back. I'm just gonna put that to the top. It's a good thing toe have and make sure that you have. So again, let's go back to the layer that we filled in. And let's change the blending mode down to some flight as well and again on the brink capacity down to about 11%. And as you see that that just adds a little bit of purple to that layer. We're going to do with shadows and highlights again, like I said in the next video. So let's move on. Let's do our subjects. We're gonna have to do each of these individually because they each have different lighting conditions. So first, let's zoom in and let's look at our dog here. So we're gonna want to do generally the same thing for all of these. Want to bring the brightness off that layer down as well as the contrast. Let's close that Let's go to a hue saturation layer. Bring that clip that down and let's take down the situation of that later. Let's put the lightness up ever so slightly as you see the blacks are being a little bit blown out, so we do want to bring that up and bring the saturation now even more. There we go and same thing as other layers. Want to add our layer of color onto our dog sets full that with purple, that still some flight layer, and it's very noticeable on the dog. So let's bring that down on the lower end to about 10% every go. So now let's color match our or woman here. Now what we're gonna do with the woman layer is similar to what we did with our background . Later, when we got rid of the tree start, Let's move over here our womanly and let's hold shift and select a woman leader and the Legler that we painted in Let's do control or command G to group those together and then let's hit control or command e to flat in that. Now what you're gonna want to do is right. Click on that. Let's convert it to Smart Object. Let's rename that two women way Go, and now we can make our adjustments. Let's do brightness contrast on her. Bring the brightness way down. Bring the contrast down. And now that I'm looking at her, I noticed that her shadow side is on the left and we want to shadow to be on the right so real quick. What we want to do on the woman is edit, transform, flip horizontal. And that's just going to make it so that her highlight is on the left and her shadows on the right. It's gonna make editing in the next step a lot easier. So now let's go back to the brightness layer here and now. Let's hit Hue saturation. Make sure that's clip down its de saturate it, and we can bring the lightness of ever so slightly maybe plus three or plus four or go plus four for this and again, we're gonna use our trick of filling in the layer with a full color. Your stuff light on that and again, it's a very noticeable on these subjects. Well, let's bring it down to about 10% in the lower side of the 10 to 20. Lastly, let's call it correct the men. As you see, he has kind of a greenish yellowish color. 10. So let's try and fix that. First, let's do a brightness and contrast. Bring the brightness on him down as well as a contrast, cause he is a very contrast e. And now let's do a hue saturation layer on him. And here's where it is going to be really important to lower the saturation. A lot. Very nice. Let's bring up the lightness so it matches these other ones. For him, it's about plus two. So it looks like and again that's at in our sneaky little color layer of purple change that stuff light mood and the opacity down about 12% for this one. There we go. It's closed at up, and if we zoom out as you see, it's starting to match color wise. Now let's do our floating rocks. Three more things to do here is your first rock rock number one. Is this one over here? So let's zoom in. So again, let's do brightness and contrast layer. As you see, it's a lot of repetitive steps here when it comes to the color matching, because you do want to make sure everything is the same color. Ah, lot of the times you have to make sure everything is in the same brightness level. So everything has to go down and be dark, or everything has to go lighter at the same time. You might want everything to be the saturated, so every layer is gonna need a hue saturation layer. So this part is very repetitive. But it is super important that you take the time to do all these individual steps on all the individual layers because in the end it's gonna look a lot better. So let's go bring the brightness down. And for the rocks here I want to match. It is close to the monolith as possible, so let's take our contrast down. No, it's a hue saturation layer. Clip it down again Let's de saturate that. As you see, this rock has a lot of yellow. If I exaggerate it, you see it has yellow orange red in it, and we don't want that. So want to de saturate that nearly completely and bring the lightness up ever so slightly as you see it matches a model with a little bit more. Let's create a new layer for color that's press G for a bucket painted with our purple. Make it a soft light layer and capacity of about 11%. So now we have that rocket on, Let's zoom out. So let's deal with rock number two. Number two is this one. So let's zoom in and again, I'm gonna try and match it to the monolith as best as possible. So let's do brightness contrast. Let's click that down the brightness down. It's already had the brightness I kind of wanted, but I'm gonna put it down a little bit, and I'm gonna take the contrast way down because this is a very contrast in this one. Lets do hue, saturation de saturate that completely on this. Bring them lightness up to about about this quaint here, plus seven on the lightness there, and that's you. Our old signature color layer. Change the blending mode of that down to some flight and opacity down to about 13 12 13% 12%. Diego has a little bit of purple to it, and now let's move on to our final rock hair rock number three. So that is this one. So go ahead. Do a brightness contrast layer on that. Clip it down. This one really has to be reduced, which is totally fine, and the contrast we can keep it as it is. Let's go hue, saturation layer. And again, let's de saturate that completely and bring the lightness ever so slightly up. In fact, I want to put that down. I'm gonna take that down to about minus three. Actually, there we go. And let's not forget our signature color layer here. Let's fill that in. In this whole time, we've had the same purple selected for fuck it. Let's make that a soft light blending mode and opacity down about 10%. Let's zoom out woozy. Let's take a look at what we have said. You see, everything is a little bit more cohesive. Everything has the proper darkness level that the proper color tone will continue changing surrounding the next part. When we add shadows and highlights as well listen different glows and effects just to make this start to look a little bit more realistic. So let's continue on with doing some shadows and highlights. 6. Shadows & Highlights: so we're ready to add shadows and highlights to this image to finally start to bring it all together. So again, I'm gonna turn off the layers that were not working with. So it's sort of floating rocks. Let's turn off our subjects for now, as well as our monolith want to just work with our background. For now, let's open up our background folder and let's go toward Desert Layer. Now one thing I like to do is have folders within folders. And as complicated as that sounds, it's something that you might really want to do. So let's take our desert layer as well as all the adjustments that we gave it and let's hit control or command G two group that together and we're gonna name that desert, and what we're going to do now is add a layer of of that. So it's that new layer. Let's click that down below, and now we're going to start to use our brushes a little bit. So now that we have a layer above our desert, let's zoom in. Let's it be for a brush, and we're gonna sample one of the lightest parts here, and we're gonna add a little glow coming from the sun. Now, this is gonna be a lot easier if you have this whole image rotated. So how do we rotate our image to rotate your image or you have to do is hit R on your keyboard and you come into the rotation tool. So what I want to do is hold down shift click in drag, and it's gonna snap it to certain points. I won't mind to be perfectly 90 degrees. So now when we zoom in will have an easier edge to work with you to be for a brush and use eyedropper to get a color that you want. Let's start painting along this edge here. Take all the time that you need and definitely helps if you have a drawing tablet. But if you don't, using the mouse is completely fine as well is take your time with it, do it in little sections, and it's always good to go back and look at it before and after as well as during. Don't be afraid to zoom out, to rotate it back to the original, just to make sure that it's not looking too crazy because you see here? I want a little bit too far. Twice. Actually, son is gonna undo that. And as with everything, you can turn the opacity of these layers down. So if you end up doing the whole side here and you find that it's too harsh of a highlight , you could very simply just turn the opacity down. So as I'm going along here, I'm sampling the color of the sky that is right next to it. That's gonna make it look a little bit nicer and lend a little bit better. So let's zoom out. Let's hit our hold down shift and let's go back to our original rotation. So let's look at her before and after before. It's a very harsh edge. Now we have a softened, a little bit glow coming over our edge here and again. You can turn the capacity down. I might do a little bit lower. And now let's do another layer above that. It be for brush. We're gonna sample this layer here, and we're gonna want a fairly large brush. It's a little bit too big, but you want one of the bigger brushes as you see, and we're essentially just gonna paint in a larger glow along this edge here, where the sun would be coming through your internal capacity of that down about 25. And in another video we're gonna add in some lens flare is coming in from that and with the same technique. We can use that to add color from this side as well, because the more that you incorporate colors from multiple layers into one, the more it's gonna help the image actually blend together. Someone add a little bit of color there and again bring capacity down ever so slightly very nice. So now let's go to the moon and this planet that we have appear because we've kind of neglected that a little bit. Heavenly blood Zoom in here. Let's go to our moon layer and creating a shadow on the moon is super super simple. That's it before brush. And let's create a mosque layer for the moon. Very simple. Right now. Let's get a brush a little bit bigger than the moon itself. This is actually nearly exactly the same size, and all you're gonna do is paint with black on the side that is opposite to the sun, so if we paint like this, we have that side of the moon now in a shadow. So that's essentially what I'm gonna do. Let's keep painting a little more, and I'm also gonna turn the opacity off the moon layer down to about 60% amount, and again we can move this around. I might move this up a little bit to the corner. And if you hit controller commodity, you can then transform this on my angle. This a little bit down as well, because the sun is going to catch part of the bottom there. Now let's deal with this other planet. We're essentially going to do the exact same process, so let's create a new layer. That's it. Be for a brush. Let's make this a little bit smaller brush and we paint away part that is not being touched by the sun. And again feel freedom. The capacity down of that. Let's zoom out. That's not too bad. I'm happy with that. So I'm gonna keep the placement of that as it is now. If you want to help these planets blend a little bit more into your image, we will do that later on with some brushes where we came in, a little bit of clouds in front of it. But for now, we're done with our background layer. So let's close that next That's open on our monolith layer. Now we're going to do the shadows and highlights of Ramana with that we have here. So first, let's go ahead and hide this overall concrete layer so we see what's below it. And what I actually want to do is open up the monolith base folder here. I actually want to lighten up this layer because, as you see, this site is not gonna be in shadow. This is gonna be in a highlight. So we want to bring the lightness of that up to bring it up to about school to about 60. Let's go to about 55 said Okay on that. And now we're gonna keep this open so we have shapes toe work off of. So first, let's select this layer. Things is going to be the front side of our model it, and we're gonna want to get some edges on that. So now we want to go above all the adjustments that we've made, let's click a new layer here and we can go ahead and clip it down. Now, if we zoom in and hit be for brush, you want to make sure we have a soft brush and we're going to start to paint in a little bit of the edges. You want to take your time of this and again A little bit goes a long way. So I'm gonna go and change the hardness of my breast about 50%. And again, if you hold down shift, you can get a nice straight edge. You can always set control or command e to de select and the control or command Z to re select that as long. If you make no other changes, let's zoom out now a little bit. So I have the full height off our monolith. Go back to our brush. Cool. Let's get this edge here. I want to make sure I'm getting it just a little bit. I was a little bit too much. I'm not happy with that controller commanding. That's not too bad, because when we're going to do is turn the opacity of this down to about that point. Just want a little bit of an edge there, so has a little bit more debt. Perfect. So now let's go ahead, get our selection again, and on a layer that we're at, we can just keep painting. So now let's focus on this side again. Let's like the same selection and we can use the same layer that we were working on. So let's use the first tool. It's gonna fill the little edge here and an edge going down here as well. Hold down shift to get your straight edge and feel free to do controller command. See as many times as you need. They can undo and redo this part because this is gonna be important. This is what actually sells the image and ties everything together. That's a controller Command D B Select. Not too bad. Take control of command Z, get her selection back, and now I want to paint in this area. I want to be a subtle is possible very nice, and I don't want to get this top edge here. Hold down shift to get a straight edge, zoom out and hit control or command Raina. So that's added a little bit of definition toe our image here. Let's do some shadows, shall we? So again, making you layer above that. Clip it down and we're going to use the same selection as before. Except this time when we hit B. We're going to use black. We're going to get some of the shadows in here because this is essentially a three D object on. We want to make sure that it looks like it. So you want to make sure you're going up to the new layer, that we've created things aside a little bit of a shadow edge here, and I'm gonna turn opacity of this down in just a moment. But I wanted to show you that you can have things be harsh and then turn the adjustment and then turn the You can have things be harsh and then turn the opacity down later and it's gonna look great. Very go for now, that's good. Let's turn opacity of this down to about 2030%. Let's do 30% for now. And if we hit B, let's make the brush zero hardness and size about 1 80 So now it's a big brush, but let's go in turn the opacity of this down about 30%. Because now I'm gonna go ahead and paint in more shadows along the bottom and the sides here. So let's go ahead and do that. Build it up, layer by layer, slowly but surely very nice. And now let's go and do this side of the model with this Well, so I'm gonna put capacity back to 100 change the hardness back to about 60% here and make my birth Small is going at an edge over here was a little bit too much, very nice. And we won't need any dark edges here. There's no shadows, so let's just add a little bit to the bottom. Let's go back into our big brush. So to go back to the breast settings hardness zero size about 200 and opacity down to about 30%. And again we're gonna paint and just like with the other side, a little bit of the shadow of our image. So now if we get control or command e to de select as you see, our monolith has a lot more that a lot more texture, a lot more shadows, which is exactly what we want. Now we want to do the same thing at some shadows and highlights to this edge of our model it here. So let's go ahead and do that is creating you layer above what we just made a clip it down . Let's go down. And this time we're going to select this background part of our image. Let's go up and let's zoom in. Now we're gonna have to be careful here because if I start painting, it's gonna cover everything. So we're gonna use a very small brush. Then we're gonna hold down shift and simply just add Ah, highlight along the edge. Very simple. We're gonna add a little glow on the inside here. Pull down shift for the straight edges. Let's hold down shift here as well. So now if we do control or commanding to the select, we see that we've added a little bit of a highlight to our highlight. If that makes sense, but we're not done yet. So it's a controller, Command Z. Until we have our selection back and we're gonna make a new layer above that. Let's clip that down. And this time we're gonna paint with black. That's right. Let's make our brush bigger again, and we're gonna keep capacity down the hardness of where it is, and we're gonna paint away some of the lower areas here just that much you don't need any more. Just a little bit. Let's hit control or command D and you see it added a little bit of shadow to the bottom part, because that part is not going to get the sun. This top part will Very nice. I want to add a very harsh, rim light type of lighting to our monolith. So let's make one final layer up top and let's select a layer of her monolith. Let's zoom in here and on this layer. We want the hardness to be fairly hard, so I'm gonna put the harness up to about 90%. As you see, that's a very harsh edge, and we're going to select the highlight off our sky. Let's make our brush nice and small, and we're gonna bring across just a very small line. If I do control or command V, you see added a very, very slight edge. So let's take control or command D till we have our selection back and we're gonna do the same over on this edge. I don't want that to go down too far. I will end up a racing part of this, but let's just go ahead. Add that to the top and the left edge. It's a little bit that more difficult to get the curved edge just to look good. Using this, we'll just try your best. You can always erase, So that's good. Do this final straight edge here, Mr Control or Command E. And as you see, that's added quite a harsh light. As you see, that's added quite a harsh edge there. You don't want it to be that harsh attorney capacity of that down a little bit. 76 should be fined 75. Now let's go eat for Racer. Let's have a soft eraser and let's just suffering up. Not great aunt there where it actually ends. There we go and we have our monoliths basically done. Now we're gonna move on to a subject. But before we do that leads group up all the layers that we've done all the way down here. Hold down shift and then to control or command G group that all together and let's rename that monolith everything we've done in Monolith is in this one layer. Very nice. Now let's do our subjects here again. I'm gonna do all the adjustments on top of the Slayer, and it's gonna be very simple, actually. Let's create a new layer above this. Clip it down, and let's start with our highlights. So again, I'm gonna sample the color of the highlight of our sky, and you can have a sample color set to the side. Gonna make sure we have opacity to the max. There we go. That's gonna be a sample highlight liken spoke correctly. There we go. Sample highly. You can hide that for now. But every time you want to come back to sample, we have that right there. So let's go back down to a subject player where we're gonna add some highlights to them. I want to make sure we have a soft brush hardness down all the way to zero, and we're gonna start painting in some highlights on these people and dog. So I want to be very careful. Just add a little bit of an edge. You can zoom in even more, but you want to take your time. Add the highlight to every side that's going to be touched by the sun Now, obviously, be taking some creative liberties here because son might not exactly reach them here. But for the sake of this, it is gonna reach them over here. That's had some of that onto the dog here. We're gonna add someone to the girl, make sure we get every part and again we're gonna turn the opacity of this down because I'm very aware this is very harsh in some situation, if you do want there to be a harsh edge like this, but not in this particular one. Very nice. If we zoom out, we see there is some highlight to them, but it doesn't look very good. So all I do is attorney capacity down about 40 30 to 40%. Do you see it? You turn it on and off you see the highlight? That ad it's very subtle, but it doesn't lock. So next we're gonna add a shadow to them. So what I tend to do is with the brush tool selected his eyedropper, and I sample the darkest part of the image. So currently, this is the darkest parts. I'm gonna capture that part now with the brush just gonna paint in the dark side of our subjects again. Take your time of this take all the time that you need And keep in mind that, like this whole face of this, she was going to be in the shadow, not just the edge of it, this whole side of this man's face. Now let's go over to the dog. This whole side of the dog is gonna be in shadow. And now let's do the girl here. Definitely want had some of the creases in her clothing. It's definitely unique. And now if we zoom out, we see there's a little shadow to them. But again, it's too much. Let's turn that down to about 30%. It even less fickle 26 for this one. And you see, they have a little bit of highlight and shadow. Now, if I turn that on and off, you see the difference We went from being very flat to being a little bit more part of the image. But we're not done just yet. Gonna wanna add another layer? We're gonna take our sample highlight which we have over here, and we're gonna want to do a very thin, harsher edge along the top of their head. Any part that's gonna be in very direct contact to the sun we're going to give Ah, harsher edge. Same with the dog down here. Zoom in a little bit. Some of the dog and our woman here Very thin line of highlight. You can go back is always an erase part of it that you don't want with E. There we go. If you zoom out, there's now a little bit of extra sharpness to that part of the image. Very nice. So finally, we're gonna want to add a little bit of shadow and highlight. Two are floating rocks. So let's go to our floating rocks. Hide those layers and we're going to do the exact same process for this whole thing. So making you layer above this, clip it down and we're gonna do all the shadows and highlights on one layer for each one. All the highlights on one, all the shadows on one. Let's zoom into this 1st 1 That's it. Be for a brush but sample or highlight color, and we're going to start to paint in a little bit of the highlight. Let's go to this rock over here. Get all the sides that will be touched by the sun Way to go Very nice little past of that down ever so slightly Now let's another layer We're gonna do shadows You're gonna take the darkest part of this image and we're gonna start to paint a little bit of shadows in for images. This original image here has a lot of shadows. I'm gonna keep that untouched for this one. I want to have a little more shadow on the bottom on the sides here. The capacity of that down about 55 or so percent very nice. And we're going to go ahead and add a sharp line highlight as well as an overall shadow effect as well. So again, let's zoom in B for brush and let's get the brightest highlight that we can. There we go. Zoom in it, be for a brush and with a small brush, we're gonna add a very thin and here so way go follow the curves and different parts of the rock itself. Having multiple layers of shadows and highlights really adds to your image because it gives them more depth. You know, you don't just have one flat highlight, put over everything. You have a little bit more attention to detail. And that's one aspect of mastering Photoshopped. Compositing is the little details. Let's get this top edge here. Very nice. And our last one down here. There we go. And as you see, just that little edge highlight does a lot from before and after it as a little extra pop. So one final shadow layer that we're going to do we're gonna sample the dark part of that again. We're gonna make our brush big, and we're gonna bring the opacity down. About 30% of that is gonna paint in general shadow across everything There we go. Perfect. And they go, We've done all the shadows and highlights for every part of our image. Next, we're going to go in and do some special effects. We're gonna add some glimpse to this monolith with some glow. We're gonna add other special effects and particles and smoke and all that kind of stuff. That's the step where everything really gets tied together. And that's honestly my favorite step. And I'm super excited to jump right into it. So let's keep going 7. Special Effects: all right, we're finally ready to add some special effects to our image and really make it come alive . We're going to be adding some glitz tour monolith here with some glow coming from it. We're gonna add some cast shadows, some birds, some clouds and smokes and particles. So let's really let's dive into it. Okay, let's get going Now before we get going, Let's group all the layers that we've done already together. So we ever floating rocks with their shadows and highlights that select all of that control or command G group that together I'm going to call that floating rocks done gonna move my other sample color to the top. It's good to say that if you ever need to come back to it, so let's just keep that there. Let's select the shadows and highlights for a subject as well as our subject and hit control or command G group that together and let's rename that subject. We have more monolith and our background ready to go, so let's tackle our background. Zoom in a little bit. First things first that I want to add arson cast shadows from all of our objects, and that's gonna go above our background layer because that's going to be on the ground here, so it's making you layer above that. Let's get our model. It's It's right here. So for Click are monolith player For now, let's just hit control or command J. We're going to duplicate that layer. Let's hit control or command e to flatten that. And then let's do control or command clicked on the thumbnail. And now we have a full selection off that. Now let's go back to the new layer that we made hit G for your paint book a tool and let's fill it up with black. If you don't already have black here President E. On your keyboard and it's gonna fill it with black, let's fill that in and now we don't see it doing so. It's a controller, Command E, and we can erase this monolith copy layer that we made. So just like that hit delete, we don't need that. We still have our monolith here. Now if we hide our monolith layer, we have the shadow that we just make. So let's go down to that layer and that's it. Control or command T. And now with you Hold control. You can pull these anchors and I'm gonna pull this down and drag it to the point where I feel like it's the most realistic. Let's pull that to be around here with the angle of the sun. Let's do that. And now what I'm gonna do, I'm gonna go filter, blur Gaussian Blur. And we're gonna add a little bit of blurred to this. I'm gonna go with about a four pixel blur. That's it. Okay on that. Never gonna turn the opacity of that down. Totally down to about 55 57%. And as you see it came a little bit away from the bottom of our image. So let's just move that up with our keyboard. Just hit the up arrow twice and it moved it up. And that's looking a lot better. So it's had the shadows for our subjects. Were going to do the same thing. Use a subject folder that we have hit control or command J to duplicate it. That's it. Control or command e to flatten. That and the controller command clicked on the thumbnail to select are subject. Let's go down here, make a new layer above the monolith shadow and hit G Fear Pain. Book it and let's paint that in Perfect. Now let's hit control or command d to de select and weaken. Simply get rid of this subjects copy layer we don't need that lets it delete. So on the layer we just made with shadow that said control or command T And if we hold down control or command weaken drag the handle. And there you have it. We have our shadows. Perfect. I want to make that very cast long shadow that's hit, enter. And as you see that's come away from their feet. So with our keyboard, I'm just gonna move it back up to use the left arrow apparel until it matches their feet. Mostly. And then again, we're going to do filter, blur Gaussian blur. Now I'm gonna use a filter we just previously used. The last year's filter is gonna be right at the top here, and it's gonna have the same setting. So if I click this, it's going to give a four picture Gaussian blur, which is exactly what I want. So it's like that is gonna match the blur off these other shadows and let's match the shadows. Well, turn it down to about a 55 54% capacity, and we have their shadows. Well, perfect. Next, we want to get the shadow of our rocks here. So same process. Click the floating rocks controller from and J then control or command E to flatten that. And then let's new controller command. Click on a thumbnail to select all of those. Perfect. Let's make a new layer some of our subject shadow of this. And now let's just hit G four paint bucket tool and fill that in for black Perfect. So Controller Command D to de select and we can get rid of this floating rocks copy layer. Just hit delete. We don't need that. So down on our new earlier that we made with our rocks shadows, Let's hit control or command T and let's transform this. Let's hit control or command. Bring that handle down to this angle. Now, this is good. Not going to be right where these are, so we're gonna want to pull these down and they'll be somewhere over here, actually. So if the sun casting a shadow on them, that's the angle you generally want to think of. There we go. That's these little details that really add a lot to your image. So again, let's do filter Ghazi Ambler. And we're gonna bring the opacity of that down to about 55% of 52. Here, let me bump that up. 2 55 There we go. So now we've gone and done the shadows for image. How we're gonna add some cliffs to our monolith you might have seen in the downloads. There is this one image with some Egyptian glimpse that you confined, and I'm gonna use a bunch of these in our image. So what I'm gonna do, actually, is the capacity of this down Nerio and hit control or command T to make the symbols very small, something like that. Click and drag that to about where I wanted to be on my image. That's hit. Enter, then let's zoom in. Let's make a new Lear above that and get her paint brush with white and want to make sure it's hard but not complete. So let's go. I want to make sure the brush is hard, but not 100%. I'm gonna keep it at 90. There we go and understand painting in some of these glyphs that I would like. So, for example, I wanna have this one and feel free to play around with the brush size and you can use any kind of lift that you really want. Can we go? And it's totally fine if you don't do this perfectly. I'm doing this with a very loose hand. So it is fine if it's not perfect, because the whole idea behind this is that it's some kind of alien text. So you want to take your time? I'm gonna keep tracing this and I'll be right back. There we go. I finished the other side here, off the cliffs, on left, Turn off the cliffs of their and let's turn off the cliffs layer and see what we have. There we go. We have some glitz up here, but it doesn't look too good right now. It looks just painted on, so let's change that, shall we? So let's a double click on the layer that we painted all of this on to, and it's gonna come up with some blending options. What we want to do is to create an outer glow toe our image. Now this is way too harsh political head and turn capacity down. First of all, about 32% and you can adjust the spread in size as much as you want. Spread will make it obviously spread further out. Size will change. The endpoint of that spread and range is going to change and range is going to change the edge of this to be softer or harder. We want not to be fully 100%. So my put capacity down to about 25% in actually happy with that. I like a little bit of blue in there, so let's hit. Okay, let's zoom out a little bit and their ago. We have a little bit of glow in Arg lifts. Perfect. Now let's go on. Add a few more little details, shall we? So it's going to our background layer and would be we want to goto our bird brushes again. All the brushes that I'm using you can download, so make sure you download them and install them, so it's got a broad brush. Let's get the darkest color that we can get of our sky here, put a little bit darker, and we're gonna add a few little details. Make the brush a small as you can. Let's go to about Let's see, I'm thinking, Let's make it about 30 pixels or so 30 35 25 then we just go ahead painting a few birds here and there at a few birds over here by the sun said, This is kind of my signature that I had to a lot of my composites and that is birds. I really think that it ties the whole image together. I also like to add clouds so it'd be for brush again on a new layer. We're gonna go to our clouds, which is right here, and let's pick a nice cloud color. I like to use what's already in the image on this, but the opacity down to about 30%. This is where I tend to paint a little bit over other elements such as the moon, and you see, it kind of ties it together. That's a little bit of that. A little bit more clouds over here, very nice and again feel free to do undo whenever you need to. Was that a little bit of smog and haze into here. So I'm going to do is open up the background layer and between the sky and the sand. So here we have the desert. Here we have the sunset. So between these layers going to create a new layer and we're gonna use one of these cloud brushes might even use the one I currently have equipped and get pure white. I'm gonna paint a little bit of a haze in the back here, and we're gonna turn the capacity of that down. There we go. And then what we're gonna do is on the desert layer. Let's go to the very top of the desert layer here, right here. We're going to paint with that same color and add a little bit of haze and smoke to that part of the image. I'm going to erase a lot of this in a second, as you see, So it's hit the for a racer and make our brush a lot bigger than what we currently have. And we're going to race this top off that and for what we have left. We're gonna turn the opacity of that way down there ago, so I have a little bit of smoke coming over. So now we also want to add a little bit of smoke right up front, so again making you layer cannolis that be for brush and again using the cloud brush. We're gonna brush some clouds right around the front, something like this, and we're gonna turn the opacity of that way down about 22%. Let's make another layer and we're gonna use another cloud brush. And this time just add a little bit of extra detail and turn the capacity of that down about 25 years old. So now we have a little bit of smoke coming up from the bottom Here were very nice. So now we also want to add a little bit of radiant to the bottom here. So let's go to the very top layer and over everything. We're gonna hit G, and sometimes it will default to the bucket. But in this time, we want our ingredient tool. So if we choose this option here, second option out of the drop down, but that does it chooses the color that's at the four color foreground here, and it goes all the way to transparent. So what we want to do is we want to sample a dark shadow, part of her image. Let's use the man. And as you see, that's changed this up here. So they hold on shift, it will create a straight radiant and we do want that split. However, for the sides here, we don't want the straight radiance. So we're not gonna hold down shift for the sides. Let's turn the capacity of that down just a little bit. There we go. Now let's create another layer, and we're going to do the same thing up top. But this time we're going to use some different colors. Let's try and find the darkest part of the sky, which looks like it's here and bring the darkness down just a little bit more and again. We're gonna hold down shift, drag that down a little bit and in from the edges, and we can bring the opacity of that down to about 65%. And as you see that added a little bit more radiant. Very cool. So now what I want to do is I'm gonna add in some other little floating rocks and particles right under these floating rocks. So let's go down to our floating rocks layer and create a new layer above that. So let them in our first truck over here and let's go all the way down and let's find a rock brushes brush folder here, and we have a bunch of rocks here that we can choose from that would just paint in Iraq for you. That's exactly what we want. Let's find one that we like and we can start dotting these around, so its sample the color of our rock. Here. We're gonna make this small, and you just start painting in, use different rocks, and we can add the shadows and highlights. And again, I like to choose the random rock ones. It's too random rock that's going to vary the rotation, which is exactly what we want here. Variety and rotation and size. Let's just paint in a few of these. All right, let's go over to this other one. Sample the dark part of that. Let's do Random Rock five for this one, and you can mix and match as much as you would like. Let's go down to this one down here, and this is gonna be a lot smaller and again I will be adding in the shadows and highlights mainly the highlights to these rocks. Once I'm done with them, let's zoom out. As you see, there's some other rocks trailing up behind them. Now my erase a few of these. That's a key for Racer to make our races smaller. And let's erase a few that we do not want. We don't want that to distract too much from our image. Not you're gonna only race still stew from there. I'm happy with this, so it's making you layer above these. Let's make a clipping mask down to that. So let's hold down. Alter option clipping. You layer down and we're going to go in with a normal brush. That's it. Be for brush on. Let's go back up to just a normal soft brush and we're going to sample the light color of our rocks and we're going to zoom in really far, and with our brush, I'm gonna go make the hardness about 70 and all we're going to do is at a little bit of highlight to one edge of it. That's all you have to do. So instead of masking out in bringing in a whole bunch of rocks We've painted in some floating rocks to our image. So let's continue and I'm gonna do all of these on one layer. Let's do this. Rock this one. And then let's get the ones from small one down here. Very nice that you're gonna under that one. Let's finish these up and I'm gonna turn the opacity of these down cause it's a little bit too harsh for my liking. But you see, that adds a lot. Just a little bit of floating rocks there, General pass ity of that down to about, say, about 60%. Very nice. And that is really starting to come together. Lastly, I want to add a little bit of a lens flare coming through from the sun and going through the monolith here. So let's finish up with that. Hear, shall we? So what we want to do is create a new layer on top of everything else. Never go. Let's hit be for brush and let's go down and find are lens flares, so you should find it in a political of free lend slurs. Open that up and there are a bunch of different lengths layers to choose from on the choose the 1st 1 here. And if I make the brush a little bit smaller, you will see exactly how big these brushes are and what they dio. So if I just plain this so if I just paint with this right now and that's what it does, which doesn't look too bad. But let's make that a little bit smaller. Let's make that about 500 pixels. There we go and we're gonna have a little bit of that coming over from outside there. Let's go make that even bigger. Yeah, let's have that coming through the edge of their and we can bring the opacity of that down . And now let's look for a lens flare that will be good between our monoliths here. You can do that on another layer. Actually, let's make the new layer. And I like this one, somebody who's flare 59 for this and make it about 1000 pixels air. So I'm gonna add that right to the corner over monoliths here. Maybe make that even smaller. That's human. So actually see what we're doing from the central that color there there we go. Just have just to have that little bit of a lens flare coming through. It really does a lot to the image. Let's see do We won't have any other types of lend slurs. Let's do Mt. Look at these different options that we have. Some of these just simply will not suit this image. But you can play around there a lot of options here. I might just keep it simple and have it just be those to summon eternal passage of this one down about 60% and the one from before I'm gonna turn that down, even lower about 50. There we go. So in the next video, I'm gonna finish things up with some final touches and some final color grading to really bring this together and finalize this composite 8. Color Grading: all right, we're almost done. Just have a few final touches to make and some final color grading to really bring this together. So let's get right into it now. Before we do the final color grading, you might remember it. That was one other layer with a concrete texture, So let's cool right down to the monolith layer. Let's open that up. Let's scroll down and under monoliths. There is this concrete layer that's currently hidden, So let's unhygienic that. But I do want tohave an X, a little bit of texture in here. So let's change that blending more from normal to overlay, and we're gonna bring the opacity of that down to about 70 60 to 70%. I'll keep that in the middle of 65 says You see the ads, a little bit of texture, a little bit of lightness to our image, and that's exactly what we want. So now let's click the very top layer that we have hold down shift and let's click the very bottom layer to select everything. Now let's hit control or command G to group that altogether entry name that as final image we're going to do all our final color grading on top of everything. So the first thing that I really want to add to all of this is gonna be a color look up layer. So let's make sure we're on the right layer here, and we're going to click that down. So what the color look up player does? It brings in a left, so it's kind of like a preset, so it's kind of like a preset they can have in photo shop that is applied to all your images. Now the lots that I use these are all ones that are already part of photo shop, so you should also have all of these as well. So if you look at these, there's so many here, you can click through them and just go through them one by one with the arrow keys. Some are better than others. Some are really intense, but the one that I'm actually going to use is one that is called foggy nights. It's of this one, but as you see, this is way to dark and doesn't look too good. Something to change the opacity of this down to 60%. So let's erase all that and let's type in 60. There we go. That's already looking a lot better, see before and after. But now this is a little bit too dark for me. So let's go ahead at a brightness contrast layer and all we're going to do. We're going to clip that down, and we're going to bring the brightness of that up to about 50. Never go 50. That's exactly what we want. We're not going to touch the contrast for that one. Not without a hue saturation layer. Clip that down. I want to lower the saturation ever so slightly and bring. I want to lower the saturation ever so slightly and bring the lightness up a little bit. So it's been the saturation down about minus seven was ring the lightness up to about plus three just to get some of the shadows back. And there you have it, our final color graded image. Next video. We're going to go over saving your image. What's the proper format for various places for the Web for print? We're going to go over that and the pros and cons of each file format that will be saving at us today, So let's keep going and let's finish up this course 9. Saving your Image: and we're finally done with the image. But now we have to save it. So depending where you save it for for the Web for print there's some different file formats that you want to use and be aware of. So, as I said before, you want to make sure that you're saving your file as a PSD file A Photoshopped how throughout this whole process. So if you haven't Bean now is essentially the time that you really have to say this as a PSD file. To do that, you simply go file save as save it as a Photoshopped PSD file from saving miners. Work, file and sincerity have one after override it, which is fine. He's gonna hit yes and hit. OK, so he always always want to have your photo shop file so you can come back, make any changes that you want only real downside of Photoshopped files are that their massive? This is a really big file. This particular one is 581 megabytes as we see down in the bottom. So this is not gonna be good for web or really any other real purpose other than for you gonna work on the next final type that everyone knows and everyone uses is JP. We've all heard of J pegs, so let's go ahead and save this image as J. Peds on the save It is J peg in two ways. So it's new file save as, and in this drop down you can save it as a J peg again, I'm gonna call this work file, call this work file J Peg hit Save, and this is going to give you a preview. This is going to be 4.1 megabytes. That's still fairly large. That's hit. Okay, now, 4.1 megabytes is still gonna be fairly large for a website. In fact, that's gonna be way to bake if you have 100 pictures on your website that are four megabytes each now website that what page has slowed 400 megabytes of data and it's gonna be really slow when people are trying to view your art. So to fix that, we go file export and safer Web legacy. It's going to bring you up this dialog box and again, we're saving this as a J peg. High quality J peg and you see already it's at 1000 kilobytes. That's one megabyte, but we're going to bring the percent here down to 50%. That's hit, enter, and that's taken it down to 215 kilobytes. That's a huge difference. That's a huge difference from the four megabytes that we previously had. And if you zoom in, we still have all the detail. So let's hit save, and we're going to call this work fall J. Peg four Web This is gonna be a lot more friendly for your website the next fall format that I save a lot of my images as especially once that I upload to Instagram and Facebook are PNG files. Let's go file save as and we're going to go down here to PNG, I say from this PNG cause For me that keeps a lot more of the detail when I posted to Instagram. So let's hit save and we're gonna do large file size. That's totally fine. This is perfect for places like Instagram or Facebook when it's a single post. Now, lastly, if you want to print in your image, whether it's for a magazine, a brochure, a poster, whatever, it is, the best file that most print shops use our tiff files. So let's go over to file Save as and in the drop down Let's go all the way down to the bottom where it's justice. We're going to save this as work file space tiff. That's hit save way. Don't wanna do anything here. No compression, no nothing. That's just hit, Okay, It's gonna include the layers Now, the downside with tiffs are that these are huge file sizes. However, most print shops, we want them to be large file sizes. You won't have as much detail in your image when you're going to print it. So for any image that you're going to print, save that must tiffs. It's gonna be better for you in the long run. So there you have it there a few ways that I save my images and that you should save your images to for different places such as Web, such as print wherever you want. These are some of the ways that I save my images. So next we're going to go through some final thoughts and conclusion and finish up this course 10. Conclusion: and there you have it. You've completed my course on Photoshopped Composite mastery. Congratulations. That's really an awesome achievement. I really hope that you've learned a lot today and skills that you can use to create more composites in the future. I would love to see what you have created using the techniques taught in this course. My homework for you is to find 10 to 15 images and create a new composite using the techniques and skills that you've learned in this course. Drop it down below to the students admitted projects, because I would love to see what you create. As always. If you want to see more of my work, check out my website at www dot the real tom kind dot com. Or you can find me on Instagram at the rial Tom Kind. I also have some other courses already made teaching some more techniques in photo shop. So if you're interested, please head over to my teacher page and check out my other courses. It's been a pleasure teaching you, and I hope to see you in another course. Take it easy